ABSTRACT
The phenomenon of multimodality has, as Jewitt (2009: 3) observes, generated interest ‘across many disciplines . . . against the backdrop of considerable social change’. Contemporary societies are grappling with the social implications of the rapid increase in sophistication and range of multimodal practices, particularly within interactive digital media, so that the study of multimodality also becomes essential within an increasing range of practical domains. As a result of this increasing interest in multimodality, scholars, teachers and practitioners are on the one hand uncovering many different issues arising from its study, such as those of theory and methodology, while also exploring multimodality within an increasing range of domains, for example, corporate advertising, cartoons, museums etc (e.g. Bednarek and Martin 2010; Jewitt 2009; Ventola and Moya 2009).
