Discourse, Design, Production, And Distribution

By Author: Amelia
Total Articles: 95
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The two multimodal texts contain layers of ideas that offer important information about digital reading practices. The first layer consists of discourses assembled to convey a given message. For example, Naruto is an anime series developed by the artist Masashi Kishimoto that depicts a world wrapped in history and hierarchies of power. In this setting, the tales of the lead character, Naruto, revolve around his adventures and those of his ninja friends. There are prevailing discourses in the Naruto series, such as ninja history and lore, and more subtle ones, such as Thomas Sabo Charms globalization, with the presence of modern-day technologies like convenience stores, movies, and contemporary advertisements. The fusion of different regional discourses blurs contextual identifications, although there are obvious ties to Japan.

Figure 1 shows the lead characters with facial expressions that match their personalities in the series. The emblem on their headbands denotes the village, to which they belong, and a spiritual thread in the story is the notion of chakra ...
... (internal reservoirs of spiritual energy) and the chakra levels they strive to achieve as the story unfolds. Naruto's blond hair aligns him with Western culture and discourses. The point is that discourses materialize in designs. Designs carry modalities, such as exaggerated features tied to Japanese anime and mange. The design carries core elements of the Naruto plot, such as the chakra levels the young ninjas need to earn. Finally, this distribution represents the means by which designs realize discourses. Naruto has been designed in a particular way, interweaving Japanese anime with allusions to Western artifacts and images. Add to this sounds, animation, visuals, and words in dialogue that give Naruto its distinctive character. Kress and Van Leeuwen (2001) maintained that "the design process in the multimodal world involves the selection of discourses and selections of modes through which content-in-discourse will be realized".

That is, Kishimoto had a distinct plan for the content of his series, which he realized through his designs distributed Thomas Sabo Bracelets by the affordances of image, animation, stylized illustrations, and sound. As a producer of an image, Kishimoto assembled discourses to establish a message that is then conveyed to readers. A more contemporary view of digital reading needs to take greater account of practices involved in making or producing digital texts to understand how we read them (Sheridan-Rabideau & Rowsell, in press).