Multimodal and Digital Literacy

Liz Calf 2013

Syllabus Bites - Creating digital and multimodal texts - Overview

Stage Statements
By the end of:
Early Stage 1

Stage 1

recognise, discuss and respond to the different kinds and purposes of various written, visual and digital texts from a variety of cultures explore the use of digital technologies to construct a variety of multimodal texts

read, interpret and discuss texts from a variety of cultures, including visual and multimodal texts, using a range of skills and strategies use digital technologies to produce texts, recognising simple conventions, language and functions
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Stage Statements
By the end of:
Stage 2

Stage 3

integrate a range of skills and strategies efficiently when reading, interpreting, analysing and evaluating texts and visual images explore the structural and grammatical features and purposes for a range of written, visual and multimodal texts develop digital publishing skills

independently read and view a range of complex texts and visual images using a comprehensive range of skills and strategies identify text structure of a range of complex texts and explore how grammatical features work to influence an audience's understanding of written, visual, media and multimodal texts create well-structured and wellpresented written and multimodal imaginative, informative and persuasive texts for a wide range of purposes and audiences develop a fluent writing style and employ digital technology to present written texts effectively in a variety of ways for different Liz Calf 2013 purposes and audiences

Stage Statements
By the end of:
Stage 4

Shape meaning by drawing on a widening repertoire of language choices Experiment with form and language in different modes and technologies to produce various types of texts for specific purposes

Handout
(See Syllabus resources: Using Digital and Multimodal texts overview content K-6) http://www.tale.edu.au/tale/live/te achers/shared/BC/syllabus-linkstable.pdf
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So What? Overview of Stage Statements Students: Read/View different kinds of multimodal texts for various purposes S3 from a variety of cultures S2
Read

S4
Shape meaning Experiment Reflect

Independently read / view complex texts Explore how semiotics work and influence audience Employ digital technologies to create for a range of purposes and audiences

S1
Read Interpret Discuss

Interpret Analyse

Critically explore
Articulate personal preference choices

Evaluate
Explore semiotics used Develop

ES 1
Recognise Respond to Explore

Use

Liz Calf 2013 Students read/view/produce using digital technologies

text latin texus meaning tissue and texere meaning weave. Weaving a tissue of meaning -appropriate metaphor -weaving together combinations of signs and symbols in a design that conveys meaning Multimodal texts meaning is communicated through a synchronisation of modes, more than one semiotic system Text is written, electronic or live

Digital/Multimodal Texts
Bull, G & Anstey, M. Evolving Pedagogies. Curriculum Press. 2010

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New types of texts require different conceptualisations and a different way of thinking schools foster the logic of writing contemporary childrens life experiences are grounded in the logic of the image and the logic of the screen. Kress and
Bearne (2001)

Digital/Multimodal Texts
M Walsh ACU 2006 (See Syllabus resources: Using Digital and Multimodal texts K-6 p3)

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Change is the new constant and this impacts on literacy literacy (reading writing, listening speaking) includes digital technology, sound, music, words and still and moving images texts students produce and consume(read) require processing several modes simultaneously in order to make meaning

Digital/Multimodal Texts
Bull, G & Anstey, M. Teaching and Learning Multiliteracies. Curriculum Press. 2006

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TEXT VARIETY new modes presentation media text in video, film, TV multimodal (aural, oral, visual) nonlinear blocks of information linked to form hypertexts and hybrid texts combinations of texts or texts that borrow from one another texts that originate from different social or cultural groups unfiltered texts may be neither authentic or credible

WRITTEN TEXT Reading is linear Reader has control over how much is read Reader has to follow the linear structure to get meaning Choice to keep reading or not

9 VISUAL TEXT Poster, picture book

WEB SITE or APP

FILM

Meaning is made Reader/viewer Clip linear but by interpretation needs to be may be cut into of visuals and competent in shorter clips and written text skimming and jump between Not necessarily scanning. Text scenes linear often in pieces or Viewer needs to Reader/viewer snippets understand has choice as to Not necessarily conventions and where they focus linear. techniques that their attention Autonomous show progression navigation of time and reader/viewer place has choice and Viewer has responsibility to choice to stop navigate to the and start and correct page replay sound can be option or standard reader/viewer may have to process information from three modes Liz Calf 2013

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Digital web based, ebook, video based Traditional re-presented, original digital, hybrid

So What ? does this mean for teachers?

More than ever teachers and students need to be discriminating in their choice of texts as digital creation software enables anyone to create anything. L McDonald 2013

Liz Calf 2013

The continual (internal) conversation of reading multimodal text: What do I focus on? What do I ignore? What can I use to understand it? How is the whole text coming together to make meaning? (Bull & Anstey 2010)

Stage by Stage Step by Step

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Traditional Literature Re-Presented Digitally

ICDL - International Children's Digital Library

http://www.abc.net.au/abcf orkids/ Kids Stories, Songs, Games, Videos & Educational Activities | Speakaboos

Magic dogs of the volcanoes = Los perros mgicos de los volcanes

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Animated Versions of Picture Books and Stories

-

picture books interactive author websites (take students beyond the book) Apps touch, tap and slide Kinaesthetic use of touch and gesture enhance interaction reinforcement of visual, movement, sound and voice over effects elements of drawing and recording increase participation

Charlie and Lola https://itunes.apple.com/au/app/greeneggs-and-ham-dr.-seuss/id380751745?mt=8 https://itunes.apple.com/au/app/hairymaclary-from-donaldsons/id383481759?mt=8

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Critically Interpreting: Prompt questions

Who

produced this text? (Is it from a reliable source?) Why has this text been created? (the purpose ) Who is this text for? (audience)
Bull & Anstey 2010
Charlie and Lola - v01e01 - I Will Not Ever Never Eat A Tomato - YouTube Liz Calf 2013

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Evaluating digitally reproduced stories

I Will Not Ever Never Eat a Tomato. L Child Early Stage 1/ Stage 1

How

is the screen text different from the traditional book?

Book
still images Layout -irregular text size, position, direction, bold Vector - pointing and gaze of characters

Clip
moving visuals moving text pop-up images audio voice over, changing volume , music
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Bright colour Textual patterning Collaged images

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Evaluating digitally reproduced stories

I Will Not Ever Never Eat a Tomato. L Child Early Stage 1/ Stage 1

How has camera angle/viewpoint been used in the screen text?

Eye level Empathy

Birds eye Overall view link and suspense

Close up Focus viewer on Lolas reaction

Long shot Shows setting and Lolas concern

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Evaluating digitally reproduced stories YouTube The Sneetches Dr Seuss Stage 2

Who

reproduced these texts? Why have these texts been created? (the purpose ) Who are these texts for? (audience)
http://www.youtube.com/watch?v=qPhOZzsi_6Q http://www.youtube.com/watch?v=XMolzESn4oI
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Evaluating digitally reproduced stories

YouTube The Sneetches Dr Seuss Stage 2 Compare how the use of proximity and posture (Gestural Semiotics) and audio is used in each text?
Animated version Posture and Proximity animated Colour changes for mood framing used to position viewer Audio - emphasis beyond narration -music creates mood change -songs provide introduction, Extra information, build context, add link with repetition Sneetches closely grouped to show close relationship Exception when portraying ostracism/difference Erect/Stooped superior/inferior Arms crossed/limbs and body droopedemotional difference Still images Colour constant Camera close up to simulate movement Audio - voice over - sound effects and music just as background - Song used once to emphasise moral Liz Calf 2013 Read version

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The Sneetches: Proximity

closely groupedpower of majority

ostracism/difference powerless of isolated

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The Sneetches: Posture

Erect/Stooped superior/inferior

Arms crossed/limbs and body droopedemotional difference

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Narratives created Digitally

Need to distinguish between : digital narratives created and functioning as literature digital storytelling that anyone can produce Good literature brings aesthetic synergy of(beautiful and smoothly integrated): technical features the artistic creation the ideas within to make a new whole. L McDonald 2013

QUALITIES OF GOOD LITERATURE

setting, physical or emotional, needs to be authentic reader/viewer needs to be able to empathise with characters and their feelings and imagine what it would be like if we were them reader is guided to understand situations; emotions and/ or imagination are invoked reader may consider issues and ideas through stories the language and structure of literary text must be constructed so that they suit

the age of the reader and the purpose of the author (with the use of realistic
Calf 2013 description, dramatic or humorous dialogue, creative images, rich literaryLiz language)

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FEATURES OF DIGITAL NARRATIVES

non-linear progression of the story, non-sequential pathways or alternatives throughout
the narrative moving visuals or graphics on the one screen, still images and/or video, moveable text, pop-up images with audio effects or music, split screens hyperlinks from within visuals to other screens, hyperlinks from a menu on the site, use of hypertext voice over, sound effects, music scrolling or mouse over effects so when the cursor is moved over text or image animation occurs, sometimes with hyperlinks, click on features navigation, interactive and game features mash up options for the reader to participate in mixing the visuals, editing video or participating in voice over

touch and tap features for digital stories developed for tablets, tough pads and phones, particularly those downloaded as apps
intertextual aspects, use of multiple perspectives, meta fictive elements
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Inanimate Alice digitally originated,

grown into website with social media

Inanimate Alice Homepage

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Analysing Inanimate Alice

Stage 3

Discuss- Producer, Purpose, Audience and Elements: Visuals and Audio- What meaning do they bring? Would the text work without images and/or music? Juxtaposition, layout and colour of screen images What do they convey? How do contrasting colours suit changing events and setting? Sound What is implied by the contrasting music? Written/verbal text What effect does the minimal language, especially understatement, have on the viewer?
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Analysing Inanimate Alice

Stage 3
Juxtaposition, layout and colour of screen images What do they convey? How do contrasting colours suit changing events and setting?

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Analysing Inanimate Alice

Stage 3

Sound What is implied by the contrasting music and audio effects?

Static Driving Electronic Found

hum

Home
http://inanimatealice.com/episod e1/index.html
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Critically Interpreting Digital text: Prompt questions

Who benefits from creating/viewing these texts? What assumptions about potential audiences of these texts has been made? What particular attitudes and values are being targeted in these texts? What stereotypes are represented or challenged?

Comparing Ads Coca Cola -Australia -Korea

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Australian Coke ad 2010

http://www.youtube.com/watch?v=rk9YOuU-Ra8

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Korean Coke Ad 2007

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The Korean Coca-Cola advertises - YouTube

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The future Hybrid texts and genres

L McDonald 2013

book film websites, apps, games continuous updating, discussion and interaction for readers/viewers. The story continues existing in different forms that are interchangeable opportunity to engage students in literature outside the book links to book, film, trailer, social media site, official and unofficial videos on YouTube, reviews and blogs of book and movie, author website and info, info about making the movie and technical aspects of filming or set design, information about actors and directors, interactive games and merchandising Liz Calf 2013

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The future Hybrid texts and genres

L McDonald 2013

Where the wild things are Where the Wild Things Are - YouTube Where The Wild Things Are Audio Book - YouTube Where the Wild Things Are (Fantasy Opera) - YouTube Where The Wild Things Are (ebook) YouTube Where the Wild Things Are --TRAILER-- - YouTube Where The Wild Things Are - YouTube Where the Wild Things Are - YouTube

The Lost Thing. Shaun Tan The Lost Thing 2010 YouTube

Chris Van Allsburg interactive site http://www.chrisvanallsburg.com/flash.html

animated Australian Aboriginal Dreaming stories Dust Echoes: Ancient Stories, New Voices

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Dust Echoes: Ancient Stories, New Voices

o Intention to blend old and new. o Situated within Country, thematically organised o Told through written, visual and aural modes.

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Managing change as the new constant

Students

diversity - various levels of knowledge and understanding of multiple literacies - No one person can be an expert in all new literacies
Teachers

Classrooms

- need to be collaborative communities - where students (and teachers) exchange and share understandings - where learn to be thoughtful, thinking consumers of knowledge

passionate, skilled, excited, Liz Calf 2013 adventurous with change and new literacies.