Research on Modal Complementary Mechanisms of Film Shot Grammar and Dialogue Narrative: A Multimodal Corpus Analysis Based on Dynamic Semantic Framework

Authors

  • Jun Wu

    Shanghai Documentary Academy, Shanghai University of Political Science and Law, Shanghai 201701, China

DOI:

https://doi.org/10.30564/fls.v7i5.9184
Received: 21 March 2025 | Revised: 1 April 2025 | Accepted: 7 April 2025 | Published Online: 25 April 2025

Abstract

This study focuses on the modal complementary mechanisms between film shot grammar and dialogue narrative, analyzing how these two modalities work together to construct meaning through a dynamic semantic framework. The research employs multimodal corpus analysis methodology, collecting and annotating visual and linguistic data from 50 internationally awarded films and examining the complementary relationships between modalities using computational linguistics and semantic analysis techniques. The findings reveal: (1) Shot grammar and dialogue narrative demonstrate systematic complementary relationships in film narratives; this complementarity is not merely a rhetorical device but a fundamental mechanism for meaning construction in film; (2) Modal complementarity manifests in three core types: semantic enhancement (58.3%), semantic expansion (27.5%), and semantic contrast (14.2%), each type possessing unique semantic functions and formal characteristics; (3) Different types of modal complementarity play distinct roles in emotional expression, character construction, and narrative progression—the semantic contrast type proves most effective in expressing complex emotions and shaping the psychological depth of characters, while the semantic expansion type excels in establishing narrative backgrounds; (4) Modal complementarity exhibits clear narrative phase dependency, with expansion types predominating in exposition phases (52%) and contrast types in climax phases (53%); (5) Films from different cultural backgrounds demonstrate varied preferences for modal complementarity, with Western films favoring semantic enhancement and ironic contrast, while Asian films more frequently employ semantic expansion and dramatic contrast. The research results not only enrich the theoretical horizons of multimodal discourse analysis and film linguistics but also provide an empirical foundation for filmmaking and cross-cultural communication while offering new perspectives for multimodal semantic modeling in computational linguistics.

Keywords:

Multimodal Analysis; Film Discourse; Modal Complementarity; Dynamic Semantic Framework; Corpus Linguistics; Audiovisual Language

References

[1] Su, W., 2025. Research on Film Visual Metalanguage and "One-take" Shot Design. Journal of Bengbu University. 14(1), 7–11. DOI: https://doi.org/10.13900/j.cnki.jbc.2025.01.015

[2] Tao, S., 2024. Analysis of Image Art in Film Shot Language. Art Education. 77(11), 192–195.

[3] James, K., 2020. Planting the Seeds of Artistic Subversiveness in À Bout De Souffle: Godard's Trailblazing Cinematic Language. Studies in Logic, Grammar and Rhetoric. 65(1), 57–70.

[4] Floriane, B., 2020. Film language, film emotions and the experience of blind and partially sighted viewers: a reception study. Journal of Specialised Translation. (33), 259–280.

[5] Whelan, J.M., 2020. Sparring Partners and Sampling Platters: Film Language, the Sacred, and Grace in Raging Bull and Babette's Feast. Quarterly Review of Film and Video. 38(3), 190–216. DOI: https://doi.org/10.1080/10509208.2020.1764899

[6] Miao, X., 2024. Symbiosis and Innovation: Research on the Integration Trend of Modern Dance and Film Art. Film Literature. (21), 116–120.

[7] He, Y., 2024. Creation of Micro-film Shot Language and Photography Techniques in the Media Convergence Era. News Outpost. (19), 57–58.

[8] Peng, G., 2024. Poetic Expression of Audiovisual Language and Moving Shots: In-depth Interpretation of Film Art. Charming Hunan. (5), 35–37.

[9] Xi, Y., 2024. From "Film Screenplay" to "Shot Language"—Translation and Holistic Construction of Early Left-wing Film Screenplay and Editing Theory. Contemporary Cinema. (10), 41–48.

[10] Zheng, D., Wang, Y., 2024. The Application of Shot Language in Suspense Films—Taking "The Silence of the Lambs" as an Example. Journal of Taizhou Polytechnic College. 24(4), 74–76.

[11] Chen, L., 2024. Symbolic Representation, Shot Language, Situational Imagination: Research on Narrative Strategies of the Ethnic Minority Film "The Gun of Gunlala". Cultural Innovation Comparative Research. 8(16), 54–58.

[12] Fan, X., 2024. Stories Behind the Shots: Analysis of Implicit Details in Classic Films. Film Literature. (8), 92–96.

[13] Tian, Y., Si, G., 2024. Film Language and Film Poetics in Surrealistic Landscapes: Exploration of Satoshi Kon's Animation Narrative and Shot Language. Film Literature. (5), 114–117.

[14] Chen, X., 2023. The Mortise and Tenon Joint of Art and Technology: Mexican Landscape and Shot Language in Alfonso Cuarón's Films. Film Review. (20), 56–59. DOI: https://doi.org/10.16583/j.cnki.52-1014/j.2023.20.005

[15] Sun, L., Liu, Z., 2023. Research on the Application of Photographic Shot Language and Perspective in Theatrical Films. Art Evaluation. (10), 164–167.

[16] Tang, R., 2023. A Brief Analysis of the Expression of Wine Culture Shot Language in Classical Wuxia Films. China Liquor. (5), 78–79.

[17] Yu, M., 2022. When Comprehensive Chinese Language Learning Takes Wing with Animated Films—Developing Comprehensive Chinese Language Learning Curriculum Resources with Animated Films as Medium. Educational Science Forum. (25), 17–22.

[18] Yao, T., Wu, J., 2022. Symphony of Medieval Retro and Future Science Fiction: Poetic Expression of Audiovisual Language in "Dune". Southeast Communication. (5), 10–13. DOI: https://doi.org/10.13556/j.cnki.dncb.cn35-1274/j.2022.05.009

[19] Gao, L., 2022. Using Shots to Gaze at Moments of Crisis in Interpersonal Relationships—On the Themes and Audiovisual Language of Miwa Nishikawa's Films. Oriental Art. (2), 105–111.

[20] Xu, L., Zhang, N., 2022. "Perhaps Love": A "Suspended" Poetic Dialogue Constructed by Audiovisual Language Symbols. Film Review. (7), 49–52. DOI: https://doi.org/10.16583/j.cnki.52-1014/j.2022.07.015

[21] Shu, N., Yang, X., 2022. Analysis of Film Shot Language in Wordless Picture Books—Taking "The Snowman" as an Example. Art Education Research. (5), 116–117.

[22] Chen, L., 2022. Lyrical Tradition and Shot Language in Early Chinese Films. Social Sciences. (3), 171–178. DOI: https://doi.org/10.13644/j.cnki.cn31-1112.2022.03.014

[23] Zhou, W., 2021. On Film Shot Language Expression Under Digital Technology. Western Radio and Television. 42(23), 121–123+148.

[24] Chen, L., 2021. Research on Narrative Differentiation Between Vlog Shot Language and Film Shot Language. Film & TV Production. 27(7), 82–84.

[25] Huang, B., 2021. Emotional Expression Completed Through Shot Language in the Film "The Piano". Theatre House. (19), 166–167.

[26] Zeng, Y., Qu, L., 2021. Shot·Language·Concealment—Film Writing in Kafka's "Amerika". Social Science Front. (4), 158–164.

[27] Fan, X., 2021. Research on Prose-style Narrative of Shot Language in the Film "My Memories of Old Beijing". Journal of Suihua University. 41(2), 108–111.

[28] Yang, Y., 2021. Analysis of Narrative Perspective and Shot Language in the Film "Let the Bullets Fly". Western Radio and Television. 42(3), 151–153.

[29] Wang, S., Zhi, J., 2021. Analysis of Film Shot Language That Constructs Artistic Conception. Film Literature. (2), 61–63.

[30] Wang, J., 2021. Changing Shots and Character Relationships: Analysis of Shot Techniques in the Film "Eat Drink Man Woman". Audio-Visual. (1), 97–98. DOI: https://doi.org/10.19395/j.cnki.1674-246x.2021.01.046

[31] Xu, Z., 2020. Shot Language and Memory Reconstruction: Taking the Vietnamese Film "The Scent of Green Papaya" as an Example. Audio-Visual. (12), 79–80. DOI: https://doi.org/10.19395/j.cnki.1674-246x.2020.12.040

[32] Jiang, J., 2020. Analysis of Shot Language in the Korean Film "The Terror Live". Audio-Visual. (11), 93–94. DOI: https://doi.org/10.19395/j.cnki.1674-246x.2020.11.048

[33] Zhong, H., 2020. Monologue Shots and Their Language Strategies in the Film "Wings of Desire". Chinese Film Market. (3), 52–57.

[34] Song, Y., 2019. Analysis of Shot Language and Narrative Strategies in Digital Dome Science Popularization Films. Science Popularization Research. 14(6), 91–96+116. DOI: https://doi.org/10.19293/j.cnki.1673-8357.2019.06.010

[35] Stepanova, P.M., 2020. “Body techniques” as expressive means in the formation of film language in early Soviet cinema. Studies in Russian and Soviet Cinema. 14(2), 124–139. DOI: https://doi.org/10.1080/17503132.2020.1749469

[36] Floriane, B., 2020. Audio description and the translation of film language into words. Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies. 73(1), 273–296.

[37] Cooper, A., 2020. Kinolab: A platform for the digital analysis of film language in narrative film and media. Journal of Italian Cinema & Media Studies. 8(1), 95–98.

[38] Kirsch, G., 2019. POST-SCRIPT FROM FILM STUDIES: Whose choice? Watching non-English language films in the UK. Multilingua. 38(5), 619–624. DOI: https://doi.org/10.1515/multi-2018-0118

[39] Allison, C., 2019. Kinolab: A Digital Humanities Project for the Analysis of Film Language. Italian Culture. 37(2), 137–143.

[40] Shuneyko, A., Chibisova, O., 2019. The Mechanism of Contextual Confirmation of the Symbol in the Cinema Language. Media Education (Mediaobrazovanie). 59(1), 123–134. DOI: https://doi.org/10.13187/me.2019.1.12

[41] Petr, K., 2019. Literary language vs. film speech. In search of new views on war and totalitarianism in Czech culture of the 1960s. World Literature Studies. 11(3), 5–16.

[42] Shafaei, M., Samghabadi, S.N., Kar, S., et al., 2019. Rating for Parents: Predicting Children Suitability Rating for Movies Based on Language of the Movies. Available from: https://arxiv.org/abs/1908.07819

[43] Bahloul, M., 2018. Arabic Language in the Emirati Films: Linguistic and Cultural Window on Emirati Films. Available from: https://www.jstor.org/stable/26578124

[44] Lorenzo-Blanco E.I., Abad-Vivero E.N., Barrientos-Gutierrez I., et al., 2018. Movie Language Orientation, Gender, Movie Smoking Exposure, and Smoking Susceptibility among Youth in Mexico. Nicotine & Tobacco Research. 20(11), 1378–1385.

[45] Cooke, P., Dennison, S., Gould, W., 2018. The Voicing Hidden Histories project: participatory video in development, soft power and film language. Media Practice and Education. 19(3), 270–282.

[46] Diabate, N., 2017. The Cinematic Language of Naked Protest. Critical Interventions. 11(3), 248–268.

[47] Anonymous, 2024. India's Jindal Poly Films to build BOPP film line. Chemical Week. 186(19), 16.

[48] Joseph, R.D., 2024. Follow These Tips to Fire Up Your Cold-Blown Film Line. Plastics Technology. 70(5), 32–34.

[49] Anonymous, 2018. W&H's TURBOCLEAN Module Now Available for Retrofit on Existing Blown Film Lines. Flexible Packaging. 21(2), 44.

[50] Howell, L.E., Behrman, L.S., Kirschner, E., et al., 2025. Storytelling in Science Film: Narrative Engagement Relates to Greater Knowledge, Interest, and Identification With Science. Science Communication. 47(2), 211–249.

[51] Waliaula, S., 2025. Cinema Narration as Oral Performance: DJ Afro and East African Media Practices. Journal of African Cultural Studies. 37(1), 6–21.

[52] Liu, S., Gao, J., Zhang, G., et al., 2024. How to speak destinations more efficiently: a study on the effects of narration in tourism films on viewer perceptions and intentions. Asia Pacific Journal of Tourism Research. 29(12), 1509–1528.

Downloads

How to Cite

Wu, J. (2025). Research on Modal Complementary Mechanisms of Film Shot Grammar and Dialogue Narrative: A Multimodal Corpus Analysis Based on Dynamic Semantic Framework. Forum for Linguistic Studies, 7(5), 286–311. https://doi.org/10.30564/fls.v7i5.9184

Issue

Vol. 7 , Iss. 5 (May 2025): In progress

Article Type

Article

License

Copyright © 2025 Jun Wu

Creative Commons License

This is an open access article under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) License.