ABSTRACT
You can fi nd moving images just about everywhere these days. Advancements in micro-processing, wireless transmission, and screen display technologies allow us to access time-based visual media on our mobile phones, tablets, and laptops. You can see motion imagery playing around the world in taxis, on planes, on billboards, on the sides of buildings, at bus stops, in the aisles of “big box” stores, at the malls, in museums, and, of course, on television and in the movie theatres. So many kinds of moving images, made by so many diverse groups of people for so many different purposes, are available via these numerous outlets. Yet we, the receiving audience, somehow know what all of these images mean. We may not understand the spoken or written language in these “movies” but we do understand, perhaps on a subconscious level, the visual language – the grammar of the shot.
