Journal articles on the topic 'Japanese language – Study and teaching – Audio-visual aids'

Research on second-language (L2) speech acquisition suggests that audio-visual aids could be effective in helping learners acquire difficult L2 speech sounds (Li, 2016a). However, most previous studies have been restricted to laboratory settings rather than the classroom environment. The present study, therefore, was designed to fill this knowledge gap by analysing the effectiveness of audio-visual aids, particularly articulatory gestures, in teaching L2 speech sounds in actual classrooms. The participants were students from two classes of non-English majors who had severe difficulties with the differentiation of /θ/–/s/ and /ð/–/z/. ‘Read-aloud’ tasks were employed for pronunciation tests. The baseline data of the students’ pronunciation of the two contrasts was collected with a pre-test, and the intuitive–imitative approach was adopted for teaching. Specifically, the students were exposed to seven audio- or audio-visually recorded poems (one poem per week over the course of seven weeks) containing the target contrasts. The students in Class 1 were taught with the audio-recordings without images of the speaker’s face being displayed; in contrast, students in Class 2 were taught using audio-visual recordings, which allowed them to observe the speakers’ articulatory gestures of /θ/–/s/ and /ð/–/z/. To detect the teaching effect, a post-test was carried out after the teaching programme was completed. A delayed post-test was conducted one month after the post-test. Comparisons with the respective pre-test results indicated that students in Class 2 had a significant improvement in the pronunciation of the target contrasts in the post-test, whereas those in Class 1 did not. In the delayed post-test, neither class showed any significant difference in the pronunciation performance in comparison with the post-test. The findings, therefore, confirmed the effectiveness of exposure to audio-visual aids in teaching L2 pronunciation.

English is an international language and plays a pivotal role in our education system that is why different methods are used for English language teaching learning process at primary level to improve learning teaching process, that is why the present study was conducted to highlight the audio-visual aids’ role in process of teaching learning at the level of primary education. All the teachers and head teachers of Southern Districts Primary schools in Khyber Pakhtunkhwa were study population. The study sample consisted of 100 head-teachers (50 female and 50 male) and 300 teachers (150 males & 150 females). By nature, the study was survey, researcher developed personally instrument to collect data from respondents and thus analyzed, tabulated, and construed the data in the light of study objectives. The statistical tools like mean and SD were used for data analysis. The present study highlighted that audio visual aids make the learners able learn English language easily and in an interested way.

Abstract As a result of the many changes and innovations in technology, new changes and methods are used in educations and especially in language teaching. In order to offer and create successful classes language teachers, especially English language teachers are using different audio-visual tools to facilitate the teaching process, besides textbooks and other interesting and engaging activities, which ensure student centeredness, autonomy, interaction and connectivity to a certain theme, and videos such as: movies, songs, power point presentations are widely used in EFL classrooms. This paper first attempts to explore the goals of using video material in EFL classrooms and the advantages of using video materials in EFL teaching, on the basis of which proposes a framework of teaching principles, strategies and specific tips which facilitate EFL teaching. Then will bring theories and practice related to the use of audio- visual tools in language learning especially in ESP classes at South East European University and why can videos be considered as valuable pedagogical tools, to facilitate the teaching process. The purpose of this study is to investigate the benefits that the language teachers and learners get in using audio-visual aids in teaching and learning the English language, as well as to show that by using the appropriate video material the teachers can improve and ensure student- centeredness, have their students interested and engaged in activities, be more active, motivated and confident in their communicative language competence. Keywords: Language teaching, video material, EFL classroom, teaching strategies, audio-visual tools.

The study aims to demonstrate the importance of instructional methods in teaching Arabic language as a second language or teaching the Arabic language to non-native speakers. The study is in line with the tremendous development in the field of knowledge, especially in the field of technology and communication, and the emergence of many electronic media in education in general and language teaching in particular. It employs an image in teaching vocabulary and presenting the experience of the Arabic Language Institute for Non-Speakers-King Abdul-Aziz University. The study follows the descriptive approach to solve the problem represented by the lack of interest in the educational methods when teaching Arabic as a second language. Accordingly, the study is to answer the following questions: What is the importance of using teaching aids when teaching Arabic to non-Arabic speakers?What are the methods of employing (an image) as an instructional tool in teaching vocabulary? The study has reached that teaching aids are of great importance in studying the Arabic language for the non-native, the image of the audio and visual aids plays a great role in teaching vocabulary to the beginners. In its modern version, it helps directly in teaching the language from a distance and thus fulfills the hopes of many in teaching Arabic language and covers the acute shortage of a language teacher.

This research article explores the teachers’ roles in reducing L1 (First Language) interference in audio-lingual classrooms. The main concern of the audio-lingual method is to focus less on grammar and teaching it inductively. There is also an emphasis on pronunciation in this method. Using tapes, visual language aids, and new materials are presented in an interactive model. The teacher presents a new structure using communicative models, and there is less focus on L1. The study applies a qualitative case study and uses observation and interview data collection techniques in a particular primary school of Malaysia during the English language sessions. The thematic analysis technique is performed to categorize the significant findings into three main themes: teacher as a role model, teacher as an orchestra leader, and teacher as a motivator. The data from classroom observation is triangulated to determine how the data is closed to the interview. The finding shows the problematisation of using L1 in teaching L2 (Second Language) since the interference of L1 negatively impacts learning L2. The study contributes to the perspective that English teachers in audio-lingual classrooms are expected to understand their objective roles. The result also implies the teachers' significance to accept that using L1 in maxim spoils learning L2, especially in an audio-lingual classroom.

This study investigates the efficacy of audio-visual technologies in assisting MSU third-year students in learning English vocabulary. The interplay of audio-visual aids in educational conversations has been researched from a variety of perspectives (Tuovinen, 2000). Multimedia is a multimodal experience in which information is communicated through text, graphics, pictures, audio, and video. It has been demonstrated that a combination of words and images always carries a substantial quantity of information (Mayer, 2018: 55). The use of multimedia in teaching and learning. The goal of this research is to determine the efficiency of audiovisual aids in the learning of English vocabulary among MSU third-year students. The use of multimedia in instruction and learning threatens the foundations of higher education. The current study investigates how third-year students at Malaysia's Management and Science University use multimedia in their English studies (MSU). To fulfill the study's aims, the researchers used both a qualitative and quantitative approach. An online poll of 200 students enrolled in the Bachelor of English as a second language program was used to construct the study corpus (BTESL). In addition, 150 MSU students from the same program were polled. The study's findings indicate that multimedia inspires BTESL students to learn English creatively and engagingly. It also aroused students' attention and compelled them to learn new terms. Multimedia, according to the study, is an excellent tool for third-year English students. It also helps students enhance their understanding of correct terminology and language.

Many scholars and language practitioners have stressed the importance of listening and speaking in language learning and teaching particularly in formal contexts. However, learners of English as a Foreign Language (EFL) in Burkina Faso appear to perform very poorly in those basic language skills. This experimental study investigates the potential of digital audio-visuals to improve the listening skills of EFL learners in secondary schools in Burkina Faso. Assuming that learners born around the year 2000 are digital natives, we have tried to integrate smartphone-friendly audio-visuals in their EFL classrooms in a four-week experiment involving one Experimental Group and one Control Group. The experiment aimed at gauging the effectiveness of those aids operated via students‘ smartphones in improving learners‘ listening and speaking skills. Independent T-tests were used to compare the groups and Sample Paired T-Tests to make comparisons within groups. Furthermore, Cohen‘s d, an effect size formula, was used to measure the effect size. The findings show that the listening skills of the students exposed to the digital audio-visual aids improved on average from 10.2 to 18.5. It was noticed incidentally that their speaking skills improved as well. The study suggests that, if appropriately used, smartphones are excellent devices for language teachers and learners in this digitizing world.

Integrated Islamic Schools, which is very influential in the education system in Indonesia, stand behind this research. This research explored Arabic language teaching at the Integrated Islamic Elementary Schools in Solo Raya with different integrative system backgrounds. It aimed to answer how the language was taught and learned in Integrated Islamic Elementary Schools in Solo Raya and the learning process from Hector Hammerly's perspective. This research was a field research model with a case study approach under the constructivist research paradigm. The results show that the Arabic language is taught depending on the need in Integrated Islamic Elementary Schools in Solo Raya, and it follows the curriculum of each school. The Hector Hammerly perspective in Arabic language teaching applies cognitive, collaborative, natural, and communicative approaches. The teaching strategies were, among others, presentation, L1 usage, visual aids, practices, error correction, technological aids, evaluation (the students’ performance or teacher-and-student quizzes to evaluate daily progress), and CA-OB (cognitive audio-oral bilingual) method.

The key objective of the study was to 'explore EFL students' approaches towards teaching obstructions to 'improve students' communicative skill and to reconnoitre the impact of EFL learners' attitudes about teaching hurdles to increase students' communicative skill at BS level in South Punjab'.To execute the basic aim of this research uses the mixed method approach and for the proper execution of this work the researcher collected data through a questionnaire. Research data were analyzed using Statistical Package for Social Sciences (SPSS). This research concludes that the majority of the learners agreed that they feel hesitant in speaking English with class fellows as their English language teacher hardly implies spoken language improving strategies in class, as their teacher gazes at them for their making mistakes, they cannot keep on speaking, when learners make mistakes, instead of motivating, the teacher makes them silent, their English language teacher delivers lecture in Urdu or in his native language which mars the communicative competence, their English language teacher never uses audio-visual aids in the class to improve their communication skill.

Research Purpose: The purpose of this study is to propose a plan that will effectively integrate a 3-years foreign language program of Arabic-English-Japanese in three different Islamic schools, “Madrasah Ibtida’iyah, Madrasah Tsanawiyah, and Madrasah Aliyah” in Cipadung Sub-District, Cibiru District. Research Method: The study utilizes a mix of both qualitative and quantitative research approach with a detailed analytical method. The research gathered its primary data by the school (madrasah) statistics, for example, curriculum activity assessments, student’s involvement in the lecture, test scores, sample questionnaires, and some sample exercises. However, the data is analyzed by organizing the primary data in charts or graphs. Principal Findings: The main findings obtained from this study is, the implementation of smart and creative learning methodologies will create a student’s engaging and enjoyable learning environment. A properly designed curriculum developed teaching strategies, utilization of audio/visual resources boosts the student’s interest in learning foreign-language courses. Thus, the effective implementation of foreign-language-programs can create better growth opportunities for the youngsters of Indonesia. Application: The integration of three different foreign languages into a single curriculum is although very difficult, but once it is embedded in the course, it has several applications as well. This study is an inherent part of most academic research, which is based on creative curriculum designs for schools and colleges. This is also impactful and suitable in modern technological based teaching and learning research activities. Novelty/Originality of this study: The novelty that makes this study more prominent as compared to the previous ones is the blend of technology in the traditional way of teaching. The use of audio/visual gadgets firmly grasps the interest of students of all ages throughout the lecture. Similarly, the smartly planned curriculum based on student’s caliber has ultimately helped in advancing the existing knowledge of each understudied student.

In globalized and progressive world more stringent requirements to high institutions are set. Future specialist in international relations not only should be familiarized with professional business competences including a certain number of skills, but due to the principles of the State Educational Standarts in Ukraine they should be able to read foreign scientific and technical literature, find out necessary information and apply the results in a proper way in their professional activity in foreign languages as well. The students’ level of mastering the language directly depends on the teaching methods being used. It could be observed during all its history the foreign business language teaching methods changed a lot of times emphasizing reading, translating, audition or combining these processes. Each method possesses its own certain importance and answers the specifically set pedagogical tasks e.g. brainstorming, audio-visual aids, group activities etc. The teaching literature review makes it possible to state that nowadays there is no an ideal, universal method yet that would enable to cover all the aspects in such a short time given to the foreign business language teaching-learning in higher institutions. The known combination of the existing methods and the teacher’s qualification, therefore, enables to make the lectures interesting and more effective. Methods: The given research paper is based on the theoratical material of the appliance of various teaching business foreign language methods for the second bachelor's degree students based on the faculty of international relations, as well as on the basis of the results from questioning the second bachelor's degree students who study foreign languages for special purposes in the field of international relations professions, and also of the results from questioning teachers specializing in teaching foreign languages for special purposes. Results: In the students’ opinion, the most effective methods of teaching foreign languages for special purposes in the field of international relations professions are the following: brainstorming method, in-group committee work and audio-visual aids.

The application of modern technology represents a significant advance in contemporary English language teaching methods. Indeed, Mohammad Reza Ahmadi (2018) maintains that electronic teaching programmes have become the predominant preference of instructors since they arguably boost positive student engagement with teachers and incentivize overall English language learning. Most contemporary English language teachers now actively incorporate a range of technological aids designed to facilitate optimum teaching delivery. The current research therefore addresses various elements of the technology used in English teaching by devising innovative curricula which harnesses recent scientific and technical developments, equip instructors with the technological skills to ensure effective and quality subject delivery, provide technical media such as audio-visual and modern technical programmes, and create student-teacher platforms which maximize positive language learning outcomes. For the purposes of this study, the relevant literature has been reviewed, technology defined linguistically and conventionally, and correlation with modern teaching skills fully evaluated. In light of this, the researcher outlines the fundamental research problem, elucidates the significance of the research objectives and hypotheses, and presents the findings. The paper concludes by offering a number of recommendations which may further contribute to the improvement of teaching methods by advancing the widespread application of modern technology.

The present study aims to shed light on analyzing the types and the frequency of the written sentence errors committed by 58 tenth grade Turkish Cypriot English as a foreign language (EFL) students in two classrooms, that is, Class A and B at a public vocational high school in North Cyprus. A quasi-experimental design was employed in the study where Class A was the experimental group which was exposed to an audio-visual aid titled “the Little Red Riding Hood” and Class B who acted as the control group. Data were collected from the written sentences produced by the students. All the errors committed by the students were identified and categorized into syntactic, morphological, orthographic, and lexical categories. The results of the study showed that both classes of students committed 11 types of common errors: (a) wrong use of articles, (b) wrong use of prepositions, (c) word order, (d) verb tense, (e) omission of plural –s, (f) misuse of the possessive –s, (g) incorrect use of comparative adjectives, (h) incorrect spelling, (i) punctuation, (j) capitalization, and (k) wrong words. However, the experimental group committed less errors ( N = 232, 57.14%) as compared to the control group ( N = 320, 78.82%). The findings have implications for EFL teachers to incorporate audio-visual aids into their teaching methodologies when teaching the writing skill.

This study is intended to have an in-depth discussion on the chief subject of this research paper, which is the most appropriate method of teaching English language vocabulary to EFL learners in the Arab region. To conduct this study, the two researchers investigated and gathered a large set of notable sources of information and research papers having dealt with vocabulary instruction to find an answer to the main question of this study. Both researchers attempted to provide theoretical coverage of specific areas applicable to English language vocabulary instruction. This theoretical coverage investigated the basic methods and strategies employed by each one of them, which specialists have classified as specific media for teaching vocabulary. They are, in order, Grammar-translation, Direct Method, Audio-lingual, Total-physical Response and Communicative Learning. These methods have proven their efficiency, seriousness, quality, and practical validity in educational circles, whether there or here in the Arab region. However, these methods, despite their importance, did not prove their worth as did other simple techniques and strategies that were effective and more influential on the EFL learners. These include the use of visual aids, bi-lingual dictionaries, the introduction of repeated verbal/written drills and guesswork exercises to find the appropriate meanings of words or phrases. To attain such conclusions, the collected data ought to be comprehensive and insightful, with study results arising from detailed review of related literature.

Mengajar membutuhkan metode pengajaran yang kreatif dan penggunaan media ajar yang kreatif sehingga ilmu yang disampaikan dapat di terima dengan baik oleh siswa. Kemampuan anak dalam menangkap materi ajar tergantung dari gaya belajarnya. Menurut DePorter dan Hernacki (2003:112), gaya belajar adalah kombinasi dari menyerap, mengatur, dan mengolah informasi. Ada 3 gaya belajar yang di jelaskan dalam Quantum Learning, yaitu Audio, visual, dan kinestetik. Gaya belajar visual adalah gaya belajar dengan melalui indera penglihatannya. Media ajar yang sesuai untuk gaya belajar visual adalah berupa gambar, grafik, ilustrasi, slide dan tulisan yang berwarna-warni. Gaya belajar auditori adalah gaya belajar melalui indera pendengarannya. Media ajar yang sesuai untuk gaya belajar auditori adalah berupa video, rekaman suara, dan pola bercerita dengan bunyi, irama, dan nada. Gaya belajar kinestetik adalah gaya belajar melalui bergerak, menyentuh, dan melakukan sesuatu yang memberikan informasi tertentu agar dia dapat mengingatnya. Media ajar yang sesuai untuk gaya belajar kinestetik adalah dengan alat bantu peraga. Dalam penyampaian materi tiap tatap muka di mulai dengan memberikan motivasi yang berfokus untuk 3 gaya belajar siswa. Kemudian di lanjutkan dengan pengenalan materi dan penyampaian materi dengan menggunakan variasi media ajar sehingga materi dapat tersampaikan dengan baik kepada 3 gaya belajar siswa tersebut. Di akhir pelajaran pada saat memainkan role play diperlukan teknik role play yang memiliki aturan permainan yang mengkombinasikan 3 gaya belajar sehingga semua dapat memainkannya. Setelah bermain role play untuk mengetahui kepemahaman siswa lebih lanjut lagi dapat dilakukan post tes. Soal post tesnya pun dibuat dan disesuaikan untuk 3 gaya belajar sekaligus. Diharapkan dengan pemahaman guru tentang gaya belajar siswa, guru dapat lebih kreatif dalam pengajaran maupun dalam pembuatan media ajar. Apabila siswa termotivasi untuk belajar maka minat belajar terhadap pelajaran bahasa Jepang akan meningkat. Teaching requires creative methods and variety of teaching media in order students able to absorb the lesson. Teacher shouldn’t force a certain method to a group of student. Because each student has different way of absorbing the lesson, depends on his/her learning style. According to DePorter and Hernacki (2003:112), learning style is a combination of absorbing, organizing, and processing information. There are three (3) types of learning styles described in Quantum Learning; Visual, Audio, and Kinesthetic. Visual learning style is a method focusing on visual sight. The suitable teaching media for visual learning style is through pictures, graphics, illustration, slides, and full-colored fonts or drawing. Audio learning style is a method focusing on hearing sense. The suitable teaching media for audio learning style may includes video, tape recording, story-telling using sounds, rhythm, and variety of tones. Kinesthetic learning style is a method focusing on movement, sense of touch, and informative activity. Suitable media for this learning style is by using visual teaching aids. In delivering the lesson, we should start the class by giving motivation focusing on the three (3) different learning styles. Then continue with lesson’s introduction, followed by the main lesson delivery, using variation of learning media to be able to reach students with three (3) types of learning styles. At the end of the lesson, conduct role play which applies certain techniques of steps and regulation combining the three (3) learning styles. Finally, after role play activity, we may close the lesson by evaluating students’ understanding. It’s also better to custom-made the evaluation test problems based on the three (3) learning styles. It is expected that with the whole-mapping of teachers’ understanding on students’ learning styles, teachers can be more creative in delivering the lesson and also in creating teaching media. If students are motivated to learn then they also will have more interest toward Japanese Language learning.

The rise of information and communication technologies has increased people’s access to educational resources and stormed the process of E-learners in the past decades. Recently, the COVID-19 pandemic forced more people to stay at home to do things via online. Of course, education is no exception. While numerous distance Chinese learning tools or websites are booming, not all these tools or websites are suitable because of E-learners’ variations in Chinese language proficiency, computer literacy, or the complexity of the tools. Hence, being able to choose effective Chinese E-learning tools for Chinese learners is crucial for Teachers of Chinese to Speakers for Other Languages (TCSOL) as it affects not only learners’motivation and overall success as well as teachers’ teaching pedagogy and performance. The present study analyzed a series of user-friendly, freeWeb2.0 digital toolsfor distance Chinese learners to study along with a textbook, Practical Audio-Visual Chinese 2, designed and carried out experimental teaching courses for Japanese participants with elementary Chinese proficiency. Lastly, it concluded with ST2D implications for TCSOL based the feedback from users.

Over the past few years, there has been a growing interest in the teaching and learning of several languages in an attempt to generate multilingual education opportunities, particularly in Europe. In response to the demands of our globalized society, Content-Based Instruction (CBI), which has also been referred to as “immersion and Content and Language Integrated Learning (CLIL) programs,” emerged as a teaching approach that combines the learning of curricular contents and the communicative competence in the target language. This study was carried out at a public high school set in a Spanish bilingual community, where music is taught through a CLIL approach in English class. The purpose of this paper is to examine how students value their music lessons in English and to check the adequacy of teaching music as a subject in English. To achieve this goal, materials adapted to their level of proficiency and a final questionnaire were designed. Results indicate that students are satisfied with this proposal, since they consider these music lessons to be easier than the regular ones. Not only did they enjoy being exposed to English in these music lessons, but a considerable number of students would also like to take a CLIL program in the near future. Pedagogical implications to this CBI model account for the development of learners’ autonomy, the use of audio-visual aids and further research in bilingual and multilingual regions overseas.

Background and Purpose: Cultural collisions in tourism communication can elicit obstacles or failure to achieve communication goals in social interactions with people of different backgrounds. A communication between cultures can present misunderstandings, vagueness in meanings and frustration due to the diverse social and cultural norms arising from various discourse systems. Among the several types of tourism communication, this study attempted to foreground delivering instructions, which is a frequently utilised speech act (SA) during tour sessions. More specifically, the study examined the use of SA in giving instructions, as expressed by tour guides throughout tour sessions. Delivering instructions is a straightforward mode of communication, even in intercultural context. Methodology: This study adopted a qualitative research method through the collection of data from audio and visual recordings, along with observational notes from interactions between tour guides and tourists particularly during the five Free Independent Travel (FIT) packages. Five Japanese speaking Malaysian tour guides and 17 Japanese tourists (JTs) were recruited for this study. Categorisation of directive speech act (DSA) by Searle (1979) and structure formation of SDA by Blum-Kulka (1989) were employed to analyse the subcategories of directive. Findings: Findings indicate that only three subcategories were used, namely the command, insist, and request. The findings also reveal that there were alignments and adjustments to the expressions or utterances when giving instructions. With the aim of effective intercultural communication, the tour guides were identified to have adapted to the tourist culture. The expression of instructions even in an intercultural context did not confer any contradiction of cultural norms, and were unlikely to cause conflict between the tour guides and the JTs. Contributions: This research is expected to serve as a foundation and reference for parties involved in the teaching and learning of the Japanese language, especially in the expression of SA for tourism communication. Keywords: Speech act, giving directive, Malaysian tourism, tourism communication, Malaysia tour guide. Cite as: Rashid, R. A., Mat, N. H., Kamaruzaman, A. S., Ibrahim, M. Y., Noh, C. H. C., & Matsutani, S. (2021). The descriptive analysis of Japanese language directive speech acts in intercultural context by Malaysian tour guides in tour sessions communication. Journal of Nusantara Studies, 6(2), 358-378. http://dx.doi.org/10.24200/jonus.vol6iss2pp358-378

In the covid 19 pandemic era, education in Indonesia is appliying an online learning system. The use of technology and computer-based applications is inevitable. Teachers are faced with the use of applications such as Zoom, G Classroom, Screenomatic, Canva, Prezi, and others. The use of these applications is constructive in the knowledge transfer process. However, the use of supporting media in online learning also plays an important role. Because in practice, the use of learning media will greatly help the learning process. One of them is by using video media. Video is a multimedia-based learning media. In the video, learners can listen to the material through audio-visual which can help optimize the function of the five senses and make it easier for learners to understand the content of the material presented. This research will use videos from a Youtube channel. One course that requires videos as learning media is Japanese for Business, which is given to 3rd year 6th-semester students for 4 meetings with various themes. In this course, students are taught Japanese conversation for business. The difficulties faced in online learning are the lack of time for practice and limited language use situations. Moreover, the pandemic period has also affected the company's work system, so it is necessary to deliver material about the work system. Such as presentations and meetings through zoom as well as other situations that might occur in the online work system. Based on this background, it can be concluded that the purpose of this study is to find out how teaching in Japanese for Business course through the use of video media in the pandemic era. The method used is a mixed method.

It is my pleasure to introduce this thematic issue dedicated to the lexicography of Japanese as a second or foreign language, the first thematic issue in Acta Linguistica Asiatica since its inception.Japanese has an outstandingly long and rich lexicographical tradition, but there have been relatively few dictionaries of Japanese targeted at learners of Japanese as a foreign or second language until the end of the twentieth century. With the growth of Japanese language teaching and learning around the world, the rapid development of very large scale linguistic resources and language processing technologies for Japanese, a new generation of aggregated, collectively developed or crowd-sourced resources evolving in the context of the social web, a shift from static paper to constantly developing electronic resources, the spread of internet access on hand-held devices, and new approaches to the use of language reference resources stemming from these developments, dictionaries and other reference resources for learners, teachers and users of Japanese as a foreign/second language are being developed and used in new ways in different user communities. However, information about such developments often does not reach researchers, lexicographers, dictionary users and language teachers in other user communities or research spheres. This special issues wishes to contribute to the spread of such information by presenting some recent developments in this growing field.Having received a very lively response to our call for papers, not all papers selected for publishing could fit into this issue, and part of them will be included in the December issue of ALA, which is also going to be dedicated to Japanese lexicography.The first round of papers included in this issue presents a varied cross-section of current JFL lexicographical work and research. All papers in this issue point out the relative scarcity of appropriate reference works for learners of Japanese as a foreign language, especially when compared to lexicographical resources for Japanese native speakers, and each of the endeavours presented here confronts this lack with its own original approach. Reflecting the paradigm shift in Japanese language research, where corpus research is again playing a central role, most papers presented here take advantage of the bounty of newly available corpora and web data, most prominent among which is the Balanced Corpus of Contemporary Written Japanese developed by the National Institute for Japanese Language and Linguistics in Tokyo, and which is used by Mogi, Pardeshi et al. and Sunakawa et al. in their lexicographical research and projects, while Blin taps data for his research from the web, another increasingly important linguistic resource.The first two papers offer two perspectives on existing Japanese dictionaries. Tom Gally in his paper Kokugo Dictionaries as Tools for Learners: Problems and Potential points out the drawbacks of currently available Japanese dictionaries from the perspective of learners of Japanese as a foreign language, but at the same time offers a very detailed and convincing explanation of the merits of monolingual Japanese dictionaries for native speakers (kokugo dictionaries), such as their comprehensiveness, detailedness and quantity of contextual information, when compared to bilingual dictionaries, which make them a potentially useful resource even for an audience they are not targeting - foreign language learners. His detailed explanation of possible uses and potential hurdles and pitfalls learners may encounter in using them, is not only accurate and informative, but also of immediate practical value for language teachers and lexicographers.Toshinobu Mogi, in his paper Towards the Lexicographic Description of the Grammatical Behaviour of Japanese Loanwords: A Case Study, investigates the lexicographic description of loanwords in Japanese reference works and notes how information offered by currently available dictionaries, especially regarding the grammatical aspects of loanword use, is not sufficient for learners of Japanese as a foreign language. After pointing our the deficiencies of current dictionary descriptions and noting how dictionaries sense divisions do not reflect the frequency of different senses in actual use, as reflected in a large-scale representative general corpus of Japanese, he uses a fascinatingly detailed analysis of the behaviour of a Japanese loanword verb to describe a corpus-based method of lexical description, based on the correspondence between usage forms and senses, which could be used for the compilation of Japanese learners' dictionaries meant for the reception and production of Japanese.The second part of this special issue is composed of four reports on particular aspects of ongoing lexicographical work targeted at learners of Japanese as a foreign language.Prashant Pardeshi, Shingo Imai, Kazuyuki Kiryu, Sangmok Lee, Shiro Akasegawa and Yasunari Imamura in their paper Compilation of Japanese Basic Verb Usage Handbook for JFL Learners: A Project Report, after pointing out - as other authors in this issue - the lack of a detailed and pedagogically sound lexicographical description of Japanese basic vocabulary for foreign learners, propose a corpus-based on-line system which incorporates insights from cognitive grammar, contrastive studies and second language acquisition research to solve this problem. They present their current implementation of such a system, which includes audio-visual material and translations into Chinese, Korean and Marathi. The system also uses natural language processing techniques to support lexicographers who need to process daunting amounts of corpus data in order to produce detailed lexical descriptions based on actual use.The next article by Marcella Maria Mariotti and Alessandro Mantelli, ITADICT Project and Japanese Language Learning, focus on the learner's perspective. They present a collaborative project in which Italian learners of Japanese compiled an on-line Japanese-Italian dictionary using a purposely developed on-line dictionary editing system, under the supervision of a small group of teachers. One practical and obvious outcome of the project is a Japanese-Italian freely accessible lexical database, but the authors also highlight the pedagogical value of such an approach, which stimulates students' motivation for learning, hones their ICT skills, makes them more aware of the structure and usability of existing lexicographic and language learning resources, and helps them learn to cooperate on a shared task and exchange peer support.The third project report by Raoul Blin, Automatic Addition of Genre Information in a Japanese Dictionary, focuses on the labelling of lexical genre, an aspect of word usage which is not satisfactorily presented in current Japanese dictionaries, despite its importance for foreign language learners when using dictionaries for production tasks. The article describes a procedure for automatic labelling of genre by means of a statistical analysis of internet-derived genre-specific corpora. The automatisation of the process simplifies its later reiteration, thus making it possible to observe lexical genre development over time.The final paper in this issue is a report on The Construction of a Database to Support the Compilation of Japanese Learners’ Dictionaries, by Yuriko Sunakawa, Jae-ho Lee and Mari Takahara. Motivated by the lack of Japanese bilingual learners' dictionaries for speakers of most languages in the world, the authors engaged in the development of a database of detailed corpus-based descriptions of the vocabulary needed by learners of Japanese from beginning to advanced level. By freely offering online the basic data needed for bilingual dictionary compilation, they are building the basis from which editors in under-resourced language areas will be able to compile richer and more up-to-date contents even with limited human and financial resources. This project is certainly going to greatly contribute to the solution of existing problems in Japanese learners' lexicography.

This is a study of Japanese learners’ perspectives on visual and audio scaffolds in the teaching of second language English reading. We compare the approaches of ER, according to Day & Bamford’s (1998) ten principles (outlined below) in class, and Assisted Repeated Reading (ARR) of a work of fiction to a class. ARR refers to the reading aloud of a text multiple times to students as they follow along silently (see Taguchi & Gorsuch, 2002). Two classes of students in required English classes undertook both ER and ARR. Both the ER and ARR enhanced the students’ comprehension of the texts; in the case of ER, most students chose picture books, which aided their comprehension. In the case of ARR, the embodied presence of the reader, and the modeling of prosody facilitated comprehension.

Pedagogy works with a number of methods in order to develop students’ mental and emotional skills. For example, using audio-visual materials (e.g. songs, videos, flashcards) is considered highly beneficial and motivating for students. Taking into account the popularity and effectivity of audio-visual aids, it is worth considering the use of paintings, as representatives of visual arts, in education and more particularly in teaching and learning EFL. This pedagogical approach does not only expand students’ general knowledge on arts but also at the same time actives skills such as skills of making logical connections, reasoning and problem-solving, which are highly required in language acquisition (L2). Consequently, the purpose of the present paper is twofold. On the one hand, it aims at describing the positive influences of visual arts, i.e. paintings, in developing students’ cognitive skills that are likewise essential in (second) language learning: critical thinking, reasoning, problem-solving skill and the ability of expressing their own opinions, etc. On the other hand, the study provides the reader with an example of using paintings in pedagogy: it offers a 45-minute lesson plan on a particular work of art with a special attention to improving students’ aforementioned cognitive skills and practicing particular tenses (present simple and present continuous).

Needs Analysis in the context of language-learning-teaching is an important process to design a certain course and syllabus. It helps course designers to set objectives, choose content, method of instruction, appropriate teaching aids, and classroom activities for different courses. This paper reports the perceptions of the researchers on the English language learning needs of the English undergraduate students of Shaheed Benazir Bhutto University Sheringal, Pakistan. The data is based on the researchers’ personal experience and first-hand observation of the population as the researchers have been teaching in the target context for about a decade. Furthermore, the researchers have always been in discussion with their students and colleagues about the target students’ English learning needs, preferred learning styles, motivation in learning English, interest, strengths/weaknesses, and attitude toward English learning in the target setting. Learners’ assignments, exam answer sheets, and presentations have also been used as a source of data collection. A needs analysis model proposed by Hutchinson and Waters (1987) has been applied in order to analyze the data. The results show that the students lack well grammatical sentences, have poor spellings, capitalization problems, limited vocabulary, unaware of collocations, poor/slow reading comprehension, and lack effective presentation skills. Furthermore, most of the students have lack of involvement in classroom activities and feel shy in speaking the English language. It was reported that the provision of authentic material, interesting activities, suitable audio-visual aids, relevant texts, language labs, and other logistic arrangements can better help them in learning the English language. The findings demonstrate that the students wished to have a learner-centered-course that helps them excel in their academic life and learning the English language.

Needs Analysis in the context of language-learning-teaching is an important process to design a certain course and syllabus. It helps course designers to set objectives, choose content, method of instruction, appropriate teaching aids, and classroom activities for different courses. This paper reports the perceptions of the researchers on the English language learning needs of the English undergraduate students of Shaheed Benazir Bhutto University Sheringal, Pakistan. The data is based on the researchers’ personal experience and first-hand observation of the population as the researchers have been teaching in the target context for about a decade. Furthermore, the researchers have always been in discussion with their students and colleagues about the target students’ English learning needs, preferred learning styles, motivation in learning English, interest, strengths/weaknesses, and attitude toward English learning in the target setting. Learners’ assignments, exam answer sheets, and presentations have also been used is a source of data collection. A needs analysis model proposed by Hutchinson and Waters (1987) has been applied in order to analyze the data. The results show that the students lack well grammatical sentences, have poor spellings, capitalization problems, limited vocabulary, unaware of collocations, poor/slow reading comprehension, and lack of effective presentation skills. Furthermore, most of the students have a lack of involvement in classroom activities and feel shy about speaking the English language. It was reported that the provision of authentic material, interesting activities, suitable audio-visual aids, relevant texts, language labs, and other logistic arrangements can better help them in learning the English language. The findings demonstrate that the students wished to have a learner-centered-course that helps them excel in their academic life and learning the English language.

Needs Analysis in the context of language-learning-teaching is an important process to design a certain course and syllabus. It helps course designers to set objectives, choose content, method of instruction, appropriate teaching aids, and classroom activities for different courses. This paper reports the perceptions of the researchers on the English language learning needs of the English undergraduate students of Shaheed Benazir Bhutto University Sheringal, Pakistan. The data is based on the researchers’ personal experience and first-hand observation of the population as the researchers have been teaching in the target context for about a decade. Furthermore, the researchers have always been in discussion with their students and colleagues about the target students’ English learning needs, preferred learning styles, motivation in learning English, interest, strengths/weaknesses, and attitude toward English learning in the target setting. Learners’ assignments, exam answer sheets, and presentations have also been used is a source of data collection. A needs analysis model proposed by Hutchinson and Waters (1987) has been applied in order to analyze the data. The results show that the students lack well grammatical sentences, have poor spellings, capitalization problems, limited vocabulary, unaware of collocations, poor/slow reading comprehension, and lack of effective presentation skills. Furthermore, most of the students have a lack of involvement in classroom activities and feel shy about speaking the English language. It was reported that the provision of authentic material, interesting activities, suitable audio-visual aids, relevant texts, language labs, and other logistic arrangements can better help them in learning the English language. The findings demonstrate that the students wished to have a learner-centered-course that helps them excel in their academic life and learning the English language.

Needs Analysis in the context of language-learning-teaching is an important process to design a certain course and syllabus. It helps course designers to set objectives, choose content, method of instruction, appropriate teaching aids, and classroom activities for different courses. This paper reports the perceptions of the researchers on the English language learning needs of the English undergraduate students of Shaheed Benazir Bhutto University Sheringal, Pakistan. The data is based on the researchers’ personal experience and first-hand observation of the population as the researchers have been teaching in the target context for about a decade. Furthermore, the researchers have always been in discussion with their students and colleagues about the target students’ English learning needs, preferred learning styles, motivation in learning English, interest, strengths/weaknesses, and attitude toward English learning in the target setting. Learners’ assignments, exam answer sheets, and presentations have also been used is a source of data collection. A needs analysis model proposed by Hutchinson and Waters (1987) has been applied in order to analyze the data. The results show that the students lack well grammatical sentences, have poor spellings, capitalization problems, limited vocabulary, unaware of collocations, poor/slow reading comprehension, and lack of effective presentation skills. Furthermore, most of the students have a lack of involvement in classroom activities and feel shy about speaking the English language. It was reported that the provision of authentic material, interesting activities, suitable audio-visual aids, relevant texts, language labs, and other logistic arrangements can better help them in learning the English language. The findings demonstrate that the students wished to have a learner-centered-course that helps them excel in their academic life and learning the English language.

While the term “visual literacy” has grown in popularity in the last 50 years, its meaning remains nebulous. It is described variously as: a vehicle for aesthetic appreciation, a means of defence against visual manipulation, a sorting mechanism for an increasingly data-saturated age, and a prerequisite to civic inclusion (Fransecky 23; Messaris 181; McTigue and Flowers 580). Scholars have written extensively about the first three subjects but there has been less research on how visual literacy frames civic life and how it might help the public as a tool to address disadvantage and assist in removing social and cultural barriers. This article examines a forerunner to visual literacy in the push to create an international symbol language born out of popular education movements, a project that fell short of its goals but still left a considerable impression on graphic media. This article, then, presents an analysis of visual literacy campaigns in the early postwar era. These campaigns did not attempt to invent a symbolic language but posited that images themselves served as a universal language in which students could receive training. Of particular interest is how the concept of visual literacy has been mobilised as a pedagogical tool in design, digital humanities and in broader civic education initiatives promoted by Third Space institutions. Behind the creation of new visual literacy curricula is the idea that images can help anchor a world community, supplementing textual communication. Figure 1: Visual Literacy Yearbook. Montebello Unified School District, USA, 1973. Shedding Light: Origins of the Visual Literacy Frame The term “visual literacy” came to the fore in the early 1970s on the heels of mass literacy campaigns. The educators, creatives and media theorists who first advocated for visual learning linked this aim to literacy, an unassailable goal, to promote a more radical curricular overhaul. They challenged a system that had hitherto only acknowledged a very limited pathway towards academic success; pushing “language and mathematics”, courses “referred to as solids (something substantial) as contrasted with liquids or gases (courses with little or no substance)” (Eisner 92). This was deemed “a parochial view of both human ability and the possibilities of education” that did not acknowledge multiple forms of intelligence (Gardner). This change not only integrated elements of mass culture that had been rejected in education, notably film and graphic arts, but also encouraged the critique of images as a form of good citizenship, assuming that visually literate arbiters could call out media misrepresentations and manipulative political advertising (Messaris, “Visual Test”). This movement was, in many ways, reactive to new forms of mass media that began to replace newspapers as key forms of civic participation. Unlike simple literacy (being able to decipher letters as a mnemonic system), visual literacy involves imputing meanings to images where meanings are less fixed, yet still with embedded cultural signifiers. Visual literacy promised to extend enlightenment metaphors of sight (as in the German Aufklärung) and illumination (as in the French Lumières) to help citizens understand an increasingly complex marketplace of images. The move towards visual literacy was not so much a shift towards images (and away from books and oration) but an affirmation of the need to critically investigate the visual sphere. It introduced doubt to previously upheld hierarchies of perception. Sight, to Kant the “noblest of the senses” (158), was no longer the sense “least affected” by the surrounding world but an input centre that was equally manipulable. In Kant’s view of societal development, the “cosmopolitan” held the key to pacifying bellicose states and ensuring global prosperity and tranquillity. The process of developing a cosmopolitan ideology rests, according to Kant, on the gradual elimination of war and “the education of young people in intellectual and moral culture” (188-89). Transforming disparate societies into “a universal cosmopolitan existence” that would “at last be realised as the matrix within which all the original capacities of the human race may develop” and would take well-funded educational institutions and, potentially, a new framework for imparting knowledge (Kant 51). To some, the world of the visual presented a baseline for shared experience. Figure 2: Exhibition by the Gesellschafts- und Wirtschaftsmuseum in Vienna, photograph c. 1927. An International Picture Language The quest to find a mutually intelligible language that could “bridge worlds” and solder together all of humankind goes back to the late nineteenth century and the Esperanto movement of Ludwig Zamenhof (Schor 59). The expression of this ideal in the world of the visual picked up steam in the interwar years with designers and editors like Fritz Kahn, Gerd Arntz, and Otto and Marie Neurath. Their work transposing complex ideas into graphic form has been rediscovered as an antecedent to modern infographics, but the symbols they deployed were not to merely explain, but also help education and build international fellowship unbounded by spoken language. The Neuraths in particular are celebrated for their international picture language or Isotypes. These pictograms (sometimes viewed as proto-emojis) can be used to represent data without text. Taken together they are an “intemporal, hieroglyphic language” that Neutrath hoped would unite working-class people the world over (Lee 159). The Neuraths’ work was done in the explicit service of visual education with a popular socialist agenda and incubated in the social sphere of Red Vienna at the Gesellschafts- und Wirtschaftsmuseum (Social and Economic Museum) where Otto served as Director. The Wirtschaftsmuseum was an experiment in popular education, with multiple branches and late opening hours to accommodate the “the working man [who] has time to see a museum only at night” (Neurath 72-73). The Isotype contained universalist aspirations for the “making of a world language, or a helping picture language—[that] will give support to international developments generally” and “educate by the eye” (Neurath 13). Figure 3: Gerd Arntz Isotype Images. (Source: University of Reading.) The Isotype was widely adopted in the postwar era in pre-packaged sets of symbols used in graphic design and wayfinding systems for buildings and transportation networks, but with the socialism of the Neuraths’ peeled away, leaving only the system of logos that we are familiar with from airport washrooms, charts, and public transport maps. Much of the uptake in this symbol language could be traced to increased mobility and tourism, particularly in countries that did not make use of a Roman alphabet. The 1964 Olympics in Tokyo helped pave the way when organisers, fearful of jumbling too many scripts together, opted instead for black and white icons to represent the program of sports that summer. The new focus on the visual was both technologically mediated—cheaper printing and broadcast technologies made the diffusion of image increasingly possible—but also ideologically supported by a growing emphasis on projects that transcended linguistic, ethnic, and national borders. The Olympic symbols gradually morphed into Letraset icons, and, later, symbols in the Unicode Standard, which are the basis for today’s emojis. Wordless signs helped facilitate interconnectedness, but only in the most literal sense; their application was limited primarily to sports mega-events, highway maps, and “brand building”, and they never fulfilled their role as an educational language “to give the different nations a common outlook” (Neurath 18). Universally understood icons, particularly in the form of emojis, point to a rise in visual communication but they have fallen short as a cosmopolitan project, supporting neither the globalisation of Kantian ethics nor the transnational socialism of the Neuraths. Figure 4: Symbols in use. Women's bathroom. 1964 Tokyo Olympics. (Source: The official report of the Organizing Committee.) Counter Education By mid-century, the optimism of a universal symbol language seemed dated, and focus shifted from distillation to discernment. New educational programs presented ways to study images, increasingly reproducible with new technologies, as a language in and of themselves. These methods had their roots in the fin-de-siècle educational reforms of John Dewey, Helen Parkhurst, and Maria Montessori. As early as the 1920s, progressive educators were using highly visual magazines, like National Geographic, as the basis for lesson planning, with the hopes that they would “expose students to edifying and culturally enriching reading” and “develop a more catholic taste or sensibility, representing an important cosmopolitan value” (Hawkins 45). The rise in imagery from previously inaccessible regions helped pupils to see themselves in relation to the larger world (although this connection always came with the presumed superiority of the reader). “Pictorial education in public schools” taught readers—through images—to accept a broader world but, too often, they saw photographs as a “straightforward transcription of the real world” (Hawkins 57). The images of cultures and events presented in Life and National Geographic for the purposes of education and enrichment were now the subject of greater analysis in the classroom, not just as “windows into new worlds” but as cultural products in and of themselves. The emerging visual curriculum aimed to do more than just teach with previously excluded modes (photography, film and comics); it would investigate how images presented and mediated the world. This gained wider appeal with new analytical writing on film, like Raymond Spottiswoode's Grammar of the Film (1950) which sought to formulate the grammatical rules of visual communication (Messaris 181), influenced by semiotics and structural linguistics; the emphasis on grammar can also be seen in far earlier writings on design systems such as Owen Jones’s 1856 The Grammar of Ornament, which also advocated for new, universalising methods in design education (Sloboda 228). The inventorying impulse is on display in books like Donis A. Dondis’s A Primer of Visual Literacy (1973), a text that meditates on visual perception but also functions as an introduction to line and form in the applied arts, picking up where the Bauhaus left off. Dondis enumerates the “syntactical guidelines” of the applied arts with illustrations that are in keeping with 1920s books by Kandinsky and Klee and analyse pictorial elements. However, at the end of the book she shifts focus with two chapters that examine “messaging” and visual literacy explicitly. Dondis predicts that “an intellectual, trained ability to make and understand visual messages is becoming a vital necessity to involvement with communication. It is quite likely that visual literacy will be one of the fundamental measures of education in the last third of our century” (33) and she presses for more programs that incorporate the exploration and analysis of images in tertiary education. Figure 5: Ideal spatial environment for the Blueprint charts, 1970. (Image: Inventory Press.) Visual literacy in education arrived in earnest with a wave of publications in the mid-1970s. They offered ways for students to understand media processes and for teachers to use visual culture as an entry point into complex social and scientific subject matter, tapping into the “visual consciousness of the ‘television generation’” (Fransecky 5). Visual culture was often seen as inherently democratising, a break from stuffiness, the “artificialities of civilisation”, and the “archaic structures” that set sensorial perception apart from scholarship (Dworkin 131-132). Many radical university projects and community education initiatives of the 1960s made use of new media in novel ways: from Maurice Stein and Larry Miller’s fold-out posters accompanying Blueprint for Counter Education (1970) to Emory Douglas’s graphics for The Black Panther newspaper. Blueprint’s text- and image-dense wall charts were made via assemblage and they were imagined less as charts and more as a “matrix of resources” that could be used—and added to—by youth to undertake their own counter education (Cronin 53). These experiments in visual learning helped to break down old hierarchies in education, but their aim was influenced more by countercultural notions of disruption than the universal ideals of cosmopolitanism. From Image as Text to City as Text For a brief period in the 1970s, thinkers like Marshall McLuhan (McLuhan et al., Massage) and artists like Bruno Munari (Tanchis and Munari) collaborated fruitfully with graphic designers to create books that mixed text and image in novel ways. Using new compositional methods, they broke apart traditional printing lock-ups to superimpose photographs, twist text, and bend narrative frames. The most famous work from this era is, undoubtedly, The Medium Is the Massage (1967), McLuhan’s team-up with graphic designer Quentin Fiore, but it was followed by dozens of other books intended to communicate theory and scientific ideas with popularising graphics. Following in the footsteps of McLuhan, many of these texts sought not just to explain an issue but to self-consciously reference their own method of information delivery. These works set the precedent for visual aids (and, to a lesser extent, audio) that launched a diverse, non-hierarchical discourse that was nonetheless bound to tactile artefacts. In 1977, McLuhan helped develop a media textbook for secondary school students called City as Classroom: Understanding Language and Media. It is notable for its direct address style and its focus on investigating spaces outside of the classroom (provocatively, a section on the third page begins with “Should all schools be closed?”). The book follows with a fine-grained analysis of advertising forms in which students are asked to first bring advertisements into class for analysis and later to go out into the city to explore “a man-made environment, a huge warehouse of information, a vast resource to be mined free of charge” (McLuhan et al., City 149). As a document City as Classroom is critical of existing teaching methods, in line with the radical “in the streets” pedagogy of its day. McLuhan’s theories proved particularly salient for the counter education movement, in part because they tapped into a healthy scepticism of advertisers and other image-makers. They also dovetailed with growing discontent with the ad-strew visual environment of cities in the 1970s. Budgets for advertising had mushroomed in the1960s and outdoor advertising “cluttered” cities with billboards and neon, generating “fierce intensities and new hybrid energies” that threatened to throw off the visual equilibrium (McLuhan 74). Visual literacy curricula brought in experiential learning focussed on the legibility of the cities, mapping, and the visualisation of urban issues with social justice implications. The Detroit Geographical Expedition and Institute (DGEI), a “collective endeavour of community research and education” that arose in the aftermath of the 1967 uprisings, is the most storied of the groups that suffused the collection of spatial data with community engagement and organising (Warren et al. 61). The following decades would see a tamed approach to visual literacy that, while still pressing for critical reading, did not upend traditional methods of educational delivery. Figure 6: Beginning a College Program-Assisting Teachers to Develop Visual Literacy Approaches in Public School Classrooms. 1977. ERIC. Searching for Civic Education The visual literacy initiatives formed in the early 1970s both affirmed existing civil society institutions while also asserting the need to better inform the public. Most of the campaigns were sponsored by universities, major libraries, and international groups such as UNESCO, which published its “Declaration on Media Education” in 1982. They noted that “participation” was “essential to the working of a pluralistic and representative democracy” and the “public—users, citizens, individuals, groups ... were too systematically overlooked”. Here, the public is conceived as both “targets of the information and communication process” and users who “should have the last word”. To that end their “continuing education” should be ensured (Study 18). Programs consisted primarily of cognitive “see-scan-analyse” techniques (Little et al.) for younger students but some also sought to bring visual analysis to adult learners via continuing education (often through museums eager to engage more diverse audiences) and more radical popular education programs sponsored by community groups. By the mid-80s, scores of modules had been built around the comprehension of visual media and had become standard educational fare across North America, Australasia, and to a lesser extent, Europe. There was an increasing awareness of the role of data and image presentation in decision-making, as evidenced by the surprising commercial success of Edward Tufte’s 1982 book, The Visual Display of Quantitative Information. Visual literacy—or at least image analysis—was now enmeshed in teaching practice and needed little active advocacy. Scholarly interest in the subject went into a brief period of hibernation in the 1980s and early 1990s, only to be reborn with the arrival of new media distribution technologies (CD-ROMs and then the internet) in classrooms and the widespread availability of digital imaging technology starting in the late 1990s; companies like Adobe distributed free and reduced-fee licences to schools and launched extensive teacher training programs. Visual literacy was reanimated but primarily within a circumscribed academic field of education and data visualisation. Figure 7: Visual Literacy; What Research Says to the Teacher, 1975. National Education Association. USA. Part of the shifting frame of visual literacy has to do with institutional imperatives, particularly in places where austerity measures forced strange alliances between disciplines. What had been a project in alternative education morphed into an uncontested part of the curriculum and a dependable budget line. This shift was already forecasted in 1972 by Harun Farocki who, writing in Filmkritik, noted that funding for new film schools would be difficult to obtain but money might be found for “training in media education … a discipline that could persuade ministers of education, that would at the same time turn the budget restrictions into an advantage, and that would match the functions of art schools” (98). Nearly 50 years later educators are still using media education (rebranded as visual or media literacy) to make the case for fine arts and humanities education. While earlier iterations of visual literacy education were often too reliant on the idea of cracking the “code” of images, they did promote ways of learning that were a deep departure from the rote methods of previous generations. Next-gen curricula frame visual literacy as largely supplemental—a resource, but not a program. By the end of the 20th century, visual literacy had changed from a scholarly interest to a standard resource in the “teacher’s toolkit”, entering into school programs and influencing museum education, corporate training, and the development of public-oriented media (Literacy). An appreciation of image culture was seen as key to creating empathetic global citizens, but its scope was increasingly limited. With rising austerity in the education sector (a shift that preceded the 2008 recession by decades in some countries), art educators, museum enrichment staff, and design researchers need to make a case for why their disciplines were relevant in pedagogical models that are increasingly aimed at “skills-based” and “job ready” teaching. Arts educators worked hard to insert their fields into learning goals for secondary students as visual literacy, with the hope that “literacy” would carry the weight of an educational imperative and not a supplementary field of study. Conclusion For nearly a century, educational initiatives have sought to inculcate a cosmopolitan perspective with a variety of teaching materials and pedagogical reference points. Symbolic languages, like the Isotype, looked to unite disparate people with shared visual forms; while educational initiatives aimed to train the eyes of students to make them more discerning citizens. The term ‘visual literacy’ emerged in the 1960s and has since been deployed in programs with a wide variety of goals. Countercultural initiatives saw it as a prerequisite for popular education from the ground up, but, in the years since, it has been formalised and brought into more staid curricula, often as a sort of shorthand for learning from media and pictures. The grand cosmopolitan vision of a complete ‘visual language’ has been scaled back considerably, but still exists in trace amounts. Processes of globalisation require images to universalise experiences, commodities, and more for people without shared languages. Emoji alphabets and globalese (brands and consumer messaging that are “visual-linguistic” amalgams “increasingly detached from any specific ethnolinguistic group or locality”) are a testament to a mediatised banal cosmopolitanism (Jaworski 231). In this sense, becoming “fluent” in global design vernacular means familiarity with firms and products, an understanding that is aesthetic, not critical. It is very much the beneficiaries of globalisation—both state and commercial actors—who have been able to harness increasingly image-based technologies for their benefit. To take a humorous but nonetheless consequential example, Spanish culinary boosters were able to successfully lobby for a paella emoji (Miller) rather than having a food symbol from a less wealthy country such as a Senegalese jollof or a Morrocan tagine. This trend has gone even further as new forms of visual communication are increasingly streamlined and managed by for-profit media platforms. The ubiquity of these forms of communication and their global reach has made visual literacy more important than ever but it has also fundamentally shifted the endeavour from a graphic sorting practice to a critical piece of social infrastructure that has tremendous political ramifications. Visual literacy campaigns hold out the promise of educating students in an image-based system with the potential to transcend linguistic and cultural boundaries. This cosmopolitan political project has not yet been realised, as the visual literacy frame has drifted into specialised silos of art, design, and digital humanities education. It can help bridge the “incomplete connections” of an increasingly globalised world (Calhoun 112), but it does not have a program in and of itself. Rather, an evolving visual literacy curriculum might be seen as a litmus test for how we imagine the role of images in the world. 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From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. 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Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. Citation reference for this article MLA Style Watson, Robert. "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion." M/C Journal 8.2 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0506/08-watson.php>. APA Style Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.