Martin Oja
Biographic Data
| ID | 5978972 |
|---|---|
| NAME | Martin Oja |
| GIVEN NAMES | Martin |
| FAMILY NAME | Oja |
| SIGNATURE | OJA M |
| AFFILIATIONS | University of Tartu |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Conflicting modalities in feature film
This article approaches sensory modalities as semiotically active factors and organizing principles in meaning-making. The focus will be on the special case where modalities mismatch in film – i.e., the soundtrack and visuals present contradictory meanings. The conflict can be characterized by the concept of synthesis that emerges in theories of Eisenstein, Barthes, Jakobson, Lotman, and cognitivists. The artistic functions of such synthesis will…
Semiotic mode and sensory modality in multimodal semiotics
This article addresses an issue in multimodal cultural studies – the inconsistent use of the notions ‘mode’ and ‘modality’. As these notions are frequently employed interchangeably, making a clear distinction between them and positioning them in a coherent system will be helpful. To outline such a system, I envisage a two-layer framework where modes and modalities support each other. The central branch of multimodal semiotics (developing from Gun…
On the concept of the deceptive trailer
The goal of the article is to contribute to the basic framework of the semiotic study of film trailers, approaching the trailer as a model of film. Discussing the signifying relations between the trailer and the film, I clarify mechanisms through which meta- or paratexts model their source texts and shape their reception. As examples, two cases in which trailers appear to be deceptive about the film’s genre are closely looked upon as the multimod…
Semiotic mode and sensory modality in multimodal semiotics
This article addresses an issue in multimodal cultural studies – the inconsistent use of the notions ‘mode’ and ‘modality’. As these notions are frequently employed interchangeably, making a clear distinction between them and positioning them in a coherent system will be helpful. To outline such a system, I envisage a two-layer framework where modes and modalities support each other. The central branch of multimodal semiotics (developing from Gun…
On the concept of the deceptive trailer
The goal of the article is to contribute to the basic framework of the semiotic study of film trailers, approaching the trailer as a model of film. Discussing the signifying relations between the trailer and the film, I clarify mechanisms through which meta- or paratexts model their source texts and shape their reception. As examples, two cases in which trailers appear to be deceptive about the film’s genre are closely looked upon as the multimod…
Semiotic mode and sensory modality in multimodal semiotics
This article addresses an issue in multimodal cultural studies – the inconsistent use of the notions ‘mode’ and ‘modality’. As these notions are frequently employed interchangeably, making a clear distinction between them and positioning them in a coherent system will be helpful. To outline such a system, I envisage a two-layer framework where modes and modalities support each other. The central branch of multimodal semiotics (developing from Gun…
Conflicting modalities in feature film
This article approaches sensory modalities as semiotically active factors and organizing principles in meaning-making. The focus will be on the special case where modalities mismatch in film – i.e., the soundtrack and visuals present contradictory meanings. The conflict can be characterized by the concept of synthesis that emerges in theories of Eisenstein, Barthes, Jakobson, Lotman, and cognitivists. The artistic functions of such synthesis will…
Computer Science (3 works) · Linguistics (3 works) · Philosophy (3 works) · Psychology (3 works) · Semiotics (3 works) · Art (2 works) · Artificial Intelligence (2 works) · Cognitive science (2 works) · Epistemology (2 works) · Language, Metaphor, and Cognition (2 works)