英语论文哪里有？本文以韩礼德的系统功能语言学、克雷斯和范·列文的视觉语法以及马丁的评价理论为基础，借鉴吕维（2011）提出的修正多模态实证分析方法，探讨电影《紫色》中女性塞莉的积极态度。
Chapter One Introduction
1.2 Research Purpose
The current research aims to make a multimodal positive analysis of The Color Purplebased on the theoretical framework of multimodal positive discourse analysis so as to explorehow the image, language and their interaction in the film construe the changes of the heroine’ssocial status.
By comprehensively examining and analyzing the language and image in The ColorPurple, this thesis attempts to answer the following questions:
(1) How do languages in the film construe the changes of the heroine’s social status?
(2) How do images in the film construe the changes of the heroine’s social status?
(3) How do languages and images complement each other in construing the changes ofthe heroine’s social status?
Chapter Three Theoretical Framework
3.1 Theoretical Foundation
3.1.1 Visual Grammar
Different from other linguistic schools, SFG emphasizes the sociality of language users,it focuses on the features and functions of language in practical using. Influenced bySystematic Functional Grammar, Kress & Van Leenwen (1996) proposed Visual Grammar.They hold that image is also a kind of social semiotic as language, so functional grammar canalso be used to analyze image. They set up a basis framework for visual analysis to explainhow image produce meaning, it consists of three meta-functions, namely, representationalmeaning, interactive meaning and compositional meaning. These three meta-functions will bediscussed respectively as following.
3.1.1.1 Representational Meaning
Kress & Van Leeuwen (1996) divide representational meaning into narrativerepresentation and conceptual representation, the difference between them lies in weatherthere is a vector in the image or not. Before elaborating the concepts of narrative andconceptual representation, we firstly introduce the term of ‘participants’ here. Kress & VanLeeuwen (1996) use the term ‘participants’ to represent the ‘object’ or ‘element’ shown invisual communication.
In narrative representation, two participants are connected by a vector, for instance, aneye line or an oblique line, they are presented as doing something to or for each other. Heresuch vectorial patterns are called narrative process. On the basis of the kinds of vectors andthe number and kind of participants involved, narrative process can be distinguished into fourkinds of narrative process, namely, action process, reactional process, speech process andmental process.
Chapter Four PDA of the Film The Color Purple from thePerspectives of Multimodality
4.1 Introduction of the Film The Color Purple
The American film the Color Purple is adapted from the Pulizer Prize-wining novel ofthe same name by Alice Walker and it was directed by Steven Spielberg. The film is about ablack girl Celie who is abused and raped by her step father at age 14. Then she is forced tomarry her “mister”, a brutal man who always terrorizes her. In the face of these sufferings,Celie doesn’t dare to resist. Her life has no changes until she meets Shug who is everythingthat Celie isn’t: Sexy, pretty, and independent. Inspired by Shug, Celie finally gets rid of herhusband and becomes an independent woman.
According to the introduction of the film mentioned above, the heroine in the filmperfectly illustrates the “wominist” proposed by Alice Walker. “Womanist” advocatesresolving the contradictions between men and women and eventually building a harmonioussociety. Through a large number of verbal and visual resources, the film successfully creates ablack female image who lively practices the value of “womanist”. Therefore, it is a typicalcorpus for multimodal positive discourse analysis.
4.2 Multimodal Positive Discourse Analysis of the Film The ColorPurple
In this section, five scenes are selected from the film to unfold the multimodal positivediscourse analysis. Among the five scenes, the first two are selected as backgroundinformation to show the misfortunes that Celie suffers from the oppression of her step fatherand husband and the other three to construe Celie’s awakening, resistance, and finally beingindependence after Shug’s inspiration. Each scene will be extended through the analysis of itsimage and verbiage produced in the film and their combination will also be taken intoconsideration. Within the analysis of the verbiage, image and their combination as a whole,the current research attempts to explore how these elements construct the female image ofCelie in The Color Purple.
4.2.1 Celie before Inspired
4.2.1.1 Celie under the Shadow of Patriarchy
The scene selected to explore Celie’s suffering under the shadow of her step father canbe seen in Figure1 and 2. The scene comes from the beginning of the film in which Celie andher sister Nettie are happily playing hand clapping games among a large stretch of purpleflowers. It will be firstly illustrated in terms of two aspects: language and image.
Chapter Five Conclusion
5.1 Major Findings of the Study
Based on Halliday's systemic functional linguistics, Kress and Van Leeuwen’s visualgrammar, and Martin’s appraisal theory, this thesis draws on the modified multimodal positivediscourse analysis proposed by Lv Wei (2011) to explore the positive attitude of the female,Celie in the film The Color Purple. The thesis mainly examines the positive attitude from theperspectives of language and image. Moreover, their combination is also examined. And themajor findings in the current study are as follows：
Firstly, the change of female’s social status in the film not only can be realized throughlanguage, but also evoked through image, but their forms of realization differentiate fromeach other. The change of female’s attitude in verbal is mainly realized through lexical choice,varying from explicit way to implicit way, by attitude, graduation and engagement resources.While in image the change of female’s attitude is mainly achieved by the attribute or processelements in representation and strengthened by the shooting distance or angle in interaction.But the composition of the image does not contribute much to evoke attitude.
Secondly, the intersemiotic complementarity between visual and verbal is mainlyrealized through repetition, synonym or antonym in terms of ideational meaning andreinforcement of address, attitudnal congruence or dissonance in terms of interpersonalmeaning. Moreover, although visual semiotic and verbal semiotic co-occur in the image, theyare independent from each other in layout. Therefore these two modalities do not complementeach other in terms of compositional meaning in films.
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