| Photojournalism as political encounter: western news photography in the 2015 migration 'crisis' |
4 |
| Modality in the digital age |
4 |
| A multimodal approach to visual thinking: the scientific sketchnote |
4 |
| Jihadist visual communication strategy: ISIL's hostage executions video production |
3 |
| Human rights collectives as visual experts: the case of Syrian Archive |
2 |
| Utopia, nostalgia, and femininity: visually promoting the Chinese Dream |
2 |
| The semantic and syntactic qualities of paneling in students' graphic narratives |
2 |
| You are what you are in this world: visual framing and exemplification in media coverage of the Guttenfelder Instagram photographs from North Korea |
2 |
| Narrating and explaining urban stories through inherited visual urban vocabulary |
2 |
| Forty years of IKEA kitchens and the rise of a neoliberal control of domestic space |
1 |
| Calibrating the 'right values': the role of critical inquiry tasks in social studies textbooks |
1 |
| The use of cartoon illustration for the assessment of social science concepts |
1 |
| The (in)disputable 'power' of images of outrage: public acknowledgement, emotional reaction, and image recognition |
1 |
| Clothing and meaning making: a multimodal approach to women's abayas |
1 |
| Design follows politics? The visualization of political orientation in newspaper page layout |
1 |
| Which way did he go? Film lateral movement and spectator interpretation |
1 |
| The monument to the children of Villatina: commemorating innocent child victims in the context of lethally stigmatized youth in Colombia |
1 |
| An aesthetics of the human: Peru's Ojo que Llora memorial |
1 |
| Facial expressions in comics: an empirical consideration of McCloud's proposal |
1 |
| Data visualization as creative art practice |
1 |
| Everything in place: peace and harmony in an overcrowded home |
1 |
| 426-430 Ashley road |
0 |
| Reasons for relating representations when reading digital multimodal science information |
0 |
| VJ Vertov: from the compositing interface to the use of the projection space |
0 |
| The sliding of the signified: multimodal sign operations in a youth-created experimental digital video |
0 |
| Wandering (at Ease): Lampo Leong's Chanted Poetry |
0 |
| Using Kaleidographic to visualize multimodal relations within and across texts |
0 |
| Counting on Carrington Road: Street Numbers as Metonyms of the Urban |
0 |
| A creative communication on ecological issues in Nigeria |
0 |
| On humanitarian virality: Kony or, the rise and fall of a pictorial artifact in the digital age |
0 |
| Vertical video: rupturing the aesthetic paradigm |
0 |
| Photomaps: A Visual Taxonomy |
0 |
| The challenge of simple graphics for multimodal studies: articulation and time scales in fuel retail logos |
0 |
| Who's devising your theatre experience? A director's approach to inclusive theatre for blind and low vision theatregoers |
0 |
| Glocal riddim: cultural production and territorial identity in Caribbean music videos |
0 |
| Hong Kong skins: signs and screens in a changing cityscape |
0 |
| Animating social work research findings: a case study of research dissemination to benefit marginalized young people |
0 |
| Photo-fake conditions of digital landscape representation |
0 |
| Building knowledge through images in physics |
0 |
| The production of narrative through static imagery: examples from a peculiar medieval illustration |
0 |
| Exploring the affordances of digital storytelling in a media-arts restorative justice program |
0 |
| CHANGES IN WORKING PRACTICES IN A RURAL COMMUNITY OF ROMANIA |
0 |
| Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture |
0 |
| Studies in the efficacy of motion graphics: the relation between expository motion graphics and the presence of naive realism |
0 |
| Photorealistic computer-generated images are difficult to distinguish from digital photographs: a case study with professional photographers and photo-editors |
0 |
| What does knowledge look like? Interpreting diagrams as contemporary hieroglyphics |
0 |
