Abstract
Due to the ever-growing hybridity and complexity in the production and reception of texts, the study of discourses requires greater theoretical and methodological sophistication. Specifically, with the increased use of communication technology, scholarly engagement with our present theoretical approaches needs to consider multimodal environments as a great influence in studying texts. This volume addresses the challenge of considering the role of images in shaping the overall message of discourse.
The first section of the book delves into different approaches to visual communication considering notions of power, while the second section is devoted to case studies that contextualize the concepts. In Chapter 1, Stocchetti maps out the pitfalls of simplistic accounts of visual communication in relation to notions of power. More importantly, he asserts the need for a more sophisticated view of understanding the political dimensions of visual communication in a postmodern world. Herkman (Chapter 2) extends the points raised in the first chapter, as her contribution outlines the critical tradition in visual studies. Coupled with a brief analysis of visual studies in scholarly journals, this chapter highlights the different theoretical traditions in critical studies, raising complex questions in the study of images in use. Kukkonen in Chapter 3, on the other hand, identifies metaphorical representations of political discourse in visual communication. These representations are then problematized in terms of the interconnections between images, ideology and power. In Chapter 4, Wodak explores the influence of images in the fictionalization of political discourse on TV. Interestingly, this chapter also seeks to situate discussions on the intersections between politics, modalities and discursive processes, as they are critical in textual production.
The second section opens with Koski’s contribution (Chapter 5), which effectively combines performativity, visuality and practices of power in international relations by examining visual display and signalling of different members of the European Union (EU). Similarly, Curticapean’s paper (Chapter 6) on the EU’s integration of Bulgaria explores the interplay of Balkanist discourse, imagery and power depicted in political cartoons. On the other hand, Palu’s contribution (Chapter 7) adds to the scholarly literature on war and terrorism by examining the different mental images represented in discourses surrounding the United States’ war on terror. From a critical-historiographical perspective, Kuusisto-Arponen (Chapter 8) presents interesting insights into Finnish war children’s struggle in establishing identity through spatial belonging and visual representations. In Chapter 9, Yrjola elucidates celebrity humanitarianism and its intersections with international relations and imaginary violence. As a form of cultural governance, celebrity humanitarianism, similar to colonial rule, may be considered as instrumental in reproducing social, cultural and political inequalities. Dealing with another social variable, gender, Kolehmainen and Makinen (Chapter 10) delve into representation of homosexuals in reality TV. Through an analysis employing Foucauldian and Bourdieuian perspectives, the chapter offers insights into the subjective construction of truth about gender and sexuality in a globalized world. In Chapter 11, Dullart employs a critical analysis to examine scriptwriters’ intervention in dealing with film endings. What is revealed is that factors such as audience’s preferences and film producer’s intent in boosting marketability place scriptwriters in a unique dilemma in creating a satisfying ending. To conclude the volume, Miettinen (Chapter 12) analyses the thematic and visual relationship between power and utopian ideology represented in superhero comics. Through an examination of the different layers of superhero narrative in its political and poetic contexts, viewpoints of subversive themes emerge as an important facet in connecting the visual/fictional to the real.
Given the number of papers featured in this volume, this is an exemplary reference for those doing work in the area. Though the text presents itself as an accessible volume covering substantial studies in the area, readers are advised to read works by Van Leeuwen before approaching this text, since it assumes a working knowledge of examining images and discourse. Also, most of the investigations are done in Western, specifically European, contexts. It would have been useful to include investigations in other contexts, but the book may still be of interest for scholars conducting investigations in other regions of the world as the findings presented here are open to contestation and re-interpretation.
The contribution of this volume is its novelty in terms of incorporating diverse theoretical and methodological positions in unravelling the role of multimodalities in shaping discourses. Moreover, the chapters presented here are contextually rich as they are instructive for researchers on how to orientate their investigations within this area of discourse and multimodality.
Overall, the volume is an excellent resource for students, teachers and researchers planning to pursue work on multimodal analysis, since it covers a range of theoretical and methodological approaches in the study of images in discourse. The significance of this work is its strong coherent blend of studies in the area from a variety of perspectives and settings. Specifically, the underlying theme of elucidating the political dimensions of analysing images considering socio-cultural factors imparts valuable insights for future investigations.