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Sylvia Pantaleo
found poem I created from one of the sentences that forms of contemporary text make it essential to
Lisa wrote in response to reading Zoom from back- rethink our notions of what reading is” (pp. 140
to-front, provide a glimpse of the nature of the stu- & 141). He describes how technological advances
dents’ written responses to Banyai’s two wordless have resulted in changes in the “media of dissem-
Vol. 84 ● No. 3 ●
picturebooks, Zoom and Re-Zoom (1995). Anal- ination” (p. 9). He also explains how the screen
ysis of the Grade 5 students’ responses revealed has affected contemporary print texts, including
that they wrote about their sense/meaning mak- the organization of the page and the use of multi-
ing processes, including how the books’ structure ple forms of visual representation. He states, “the
and format influenced their responses—even when screen is the site of the image” (p. 9), thus making
reading the books back-to-front! The data on the ability to read images very important.
Language Arts ●
Copyright © 2007 by the National Council of Teachers of English. All rights reserved.
visual literacy, comprehension, and literary First I thought it was a bird. Then I thought
understanding. it was a person, and then I thought it was a bird
person! I turned the book all sorts of ways upside
ZOOM AND RE-ZOOM down and sideways and then right side up. On
Banyai uses the same concept and design in both the third page I saw a man with a bow shooting
wordless picturebooks. He takes readers/viewers a woolly mammoth in a watch. Then I saw it was
on a visual journey as an imaginary camera pans placed on a HAIRY pincushion! On the third page
out backwards to show an increasingly distant there was a man who was very hairy that was
perspective of the previous scene. His technique painting with the watch on! On the next page it
resembles mise-en-abyme, a visual or verbal had the hairy man and he was in a building. Then
text “embedded within another text as its minia- I turned some pages and the building was in a
ture replica” (Nikolajeva & Scott, 2001, p. 226). strange triangle and I turned it all around again
Each scene is indeed a small part of a larger just like page one.
scene and, on several occasions, a totally unan-
ticipated scene. The format of the books could As Kudo explains, the cave painting is on a watch
be described as matryoshkas—Russian stack- face worn by a man who is making a rubbing of
ing or nesting dolls, in reverse, as each page the symbols on the ancient walls of a structure.
turn reveals the former illustration to be part of The “strange triangle” Kudo refers to is the Paris
a larger artwork. This format is not the only fac- Obelisk, the first obelisk in modern times to be
tor that contributes to the “narrative connected- taken out of Egypt. The book has several shifts in
ness” of the two books, however; there are other locale from Paris, to a movie set supposedly set in
visual consistencies as well. a jungle. However, the movie
Each book has black glossy Banyai takes readers/viewers on set is a decoration on a steamer
verso (left-hand) pages that a visual journey as an imaginary trunk that turns out to be part of
serve “almost as stage cur- camera pans out backwards a painting. The book contains
tains in their dramatic sever- to show an increasingly several complex perspective
ance of one act from another” distant perspective of shifts and numerous intertex-
(Stevenson, 1995, p. 189). the previous scene. tual connections (e.g., the Paris
The flat-coloured illustrations Obelisk, Place de la Concorde,
on the recto (right-hand) pages are outlined with the Goodyear Blimp, Napoleon, the Eiffel Tower,
black pen line. Both books have detailed illus- Alfred Hitchcock, and numerous well-known
trations, present multiple visual perspectives, individuals on the subway train car at the end of
and playfully suggest that, “things are not what the book). Various mediums of communication
they seem” (p. 190). and modes of transportation are represented in
the scenes. The metafictive ending draws readers’
Zoom begins with a close-up of a rooster’s attention to the fictive status of the book (Panta-
comb. Further zooms reveal that the rooster is leo, 2004a, 2004b; Waugh, 1984) as every scene
part of a toy farm set that is part of an advertise- in the book that the reader has just viewed is in
January 2007
ment on a magazine being held by a boy on a the magazine being read by an adolescent male
cruise ship. However, the ocean liner is really a on a subway train. The book ends with two red
poster on a city bus that is on a television show dots—the taillights of the subway train.
being viewed by a man in the Arizona desert. The
Vol. 84 ● No. 3 ●
The first close-up shot in Re-Zoom seems to focused on exploring Grade 5 students’ processes
be a prehistoric cave painting of a hunter with a of reading and understanding texts with Radi-
bow and arrow. Kudo, one of the Grade 5 boys, cal Change characteristics (Dresang, 1999), and
described his reading of the first few rectos in Re- examining how the students used their knowledge
Zoom in his response journal. of these characteristics to create their own texts
224
picturebooks used in the 2003 study follows: Why their reading experiences. The students were to
the Chicken Crossed the Road (Macaulay, 1987), write a journal entry about what they were feel-
Shortcut (Macaulay, 1995), Voices in the Park ing, thinking, wondering, questioning, or imag-
(Browne, 1998), The Three Pigs (Wiesner, 2001), ining as they read the first half of the book.
Starry Messenger (Sis, 1996), The Stinky Cheese Once the journal entry was completed, the chil-
Man and Other Fairly Stupid Tales (Scieszka, dren read the rest of the book and then com-
1992), and Black and White (Macaulay, 1990). pleted another personal response. Once finished
During the 2004 study, 5B and 5C did not read their second journal entry, the students were
Starry Messenger. Instead, they read Beware of the instructed to read their book backwards and to
Storybook Wolves (Child, 2000) and Who’s Afraid write another response about that particular read-
of the Big Bad Book? (Child, 2002) after they read ing experience.
The Three Pigs. With the exception of Banyai’s As stated above, this article focuses on the
two wordless picturebooks, each student had her/ students’ written responses to and interpretations
his own copy of each book to read. The Grade 5 of Zoom and Re-Zoom. The students’ responses
students wrote predictions about and responses to were read and reread and compared and con-
the picturebooks, participated in trasted (Glaser & Straus,
and audio-recorded single- and “I liked how the pictures tell the 1967). Analyses revealed
mixed-gender peer-led small- story, not the words so you make that the students’ aesthetic
group discussions of each pic- it whatever you like—it’s like responses pervaded their writ-
turebook, and participated in all in your imagination, not the ten responses, and that the chil-
whole-class audio-recorded dis- illustrator’s.” dren wrote about the books’
cussions of the picturebooks. structure and format, includ-
During the whole-class conversations about each ing their responses to reading the books back-to-
book, the students learned about and discussed front and their sense/meaning making processes.
the Radical Change characteristics evident in the The use of “Z” and “RZ” after students’ names
literature. indicates whether the written response was about
Among other activities in the research, the Zoom or Re-Zoom.
Grade 5 students read at least one novel with
Radical Change characteristics, participated in The Books’ Format and Design
class discussions about their observations of the Most of the students who wrote about the format
existence of Radical Change characteristics in and design of the picturebooks focused on more
their lives outside of school, wrote their own sto- than one aspect. Some students expressed sur-
ries with Radical Change characteristics, and prise over the wordless nature of the books and
participated in individual interviews with me recognized the need to read the pictures. Sha-
about the picturebooks they read and the stories zia’s midway response to Zoom communicated
they wrote. Finally, the students completed an the latter: “You can’t read it. You look at the pic-
end-of-study questionnaire. tures. It’s about a picture turning into a picture. I
January 2007
Zoom and 29 read Re-Zoom. As described above, the pictures tell the story, not the words so you
the children were asked to begin their reading make it whatever you like—it’s like all in your
experiences with a very focused lens and gener- imagination, not the illustrator’s.”
ate predictions about the books by looking solely Most of the children wrote about Banyai’s
at the front cover. The children’s reading expe- zooming technique in either their midway or
riences of the books reflected the zooming tech- final response. As part of her midway response to
Language Arts ●
nique in the books as their reading lens kept Zoom, Riley wrote, “In my mind I think of how
broadening. Once the students wrote predictions, a camera works because it has a zoom lens.” The
they read to the midway point of the books. A students recognized the intratextual nature of the
sticky note marked the place where they were to books created by Banyai’s illustrative nesting
stop reading and write a personal response about framing device.
226
contributed to the design of the book as well as to Kyle (RZ): I think that it’s still exciting even
their aesthetic pleasure of the text. though you already know what the pictures are
because the pictures are more bigger and it looks
Reversibility like you’re going inside the book.
The format and design of the books allow them Shecara (Z): I liked reading it backwards
to be read/viewed from back-to-front. I was because it was like a magnifying glass on a big
amused by the students’ facial expressions when picture. Rereading it backwards was really fun be-
I instructed them to read the book backwards. cause you knew what was coming but it was from
Several looked puzzled by receiving permission a different point of view.
to violate this cultural reading convention. Other Devon (RZ): If you read it backwards,
children smiled, somewhat mischievously, and a Re-Zoom becomes Zoom and vice versa. When
few whispered conspiratorially, “I already did.” you read it backwards it becomes a totally differ-
I instructed the students to read the books from ent story. I thought that it was a cool book because
back-to-front to encourage them to think about the I would never have thought that the book was
possibility of multiple reading paths. In his discus- about pictures that got smaller and smaller and
sions about the influence of the screen on a theory bigger and bigger when you read it backwards.
of literacy, as well as on the pragmatics of reading
and writing texts, Kress writes about how readers Nidhiki (Z): When I read it backwards, it
are socialized into particular forms of reading. To seemed like it was zooming in on the rooster in
him, “a reading path is nearly as much a matter of the magazine on the cruise ship sign on the bus
the social as it is of the semiotic” (2003, p. 160). on the TV, on the stamp, on the airplane view on
Several of the picturebooks read by the students the Earth. I liked reading it backwards because it
during the research offered multiple reading paths, looked like I was falling through the pictures.
and according to Coles and Hall, Jordan (RZ): Flipping
“multiple reading pathways I instructed the students to read back into the book was like
are part of the repertoire of a the books from back-to-front taking a ride into a book the
skilled and experienced reader” to encourage them to think way it took you on a roller-
(2001, p. 111). From the outset, about the possibility of coaster through the book.
I wanted the students to experi- multiple reading paths. It was extraordinary how
ence and think about the flexi- the illustrator organized the
bility of the picturebook format and to learn “that pictures and emphasized the photos. The way he
it isn’t necessary to think in a straight line to make took you and put you in the pictures going back-
sense” and that “risk can be rewarded” (Macaulay, wards it was like a vortex sucking you in with
1991, p. 419). all its might, power and grasp. It shot you right
The students’ reactions to reading Zoom and through the book and you would be going so fast
Re-Zoom from back-to-front varied. Three stu- but still see the story at hand.
dents did not write a response about reading the As is evident by the above responses, several
January 2007
books back-to-front, 3 children thought there was Grade 5 students described the zooming sensa-
no difference, and 7 students found it less excit- tion they experienced as they read the book front-
ing and preferred reading the picturebooks front- to-back, and then back-to-front. Many children’s
to-back. For example, Sandra wrote, “I think written responses included similes to describe
Vol. 84 ● No. 3 ●
when you go backwards it is kind of confusing. their physical sensations of reading the book
You don’t really see the getting closer or backing backwards. Since the students knew both the con-
away.” Five students still found the books interest- tent and format of the books, they seemed to
ing because of the different perspective offered by focus on the holistic experience of reading the
reading the books back-to-front, even though they book back-to-front.
knew the content of the books. Eight children pre-
The Students’ Sense/Meaning Making
Language Arts ●
understanding during and after reading the books. ceptions of reality were disrupted each time they
The children’s written words described their evo- turned the page. It was interesting how many chil-
cations and their interpretations. dren continued to focus on the real/unreal aspect
The written responses of several students even though they understood the design of the pic-
reflected their interest about the real and unreal turebook. The possibility of continuing with an ever-
aspect of the book. Others wrote about the never- expanding perspective intrigued several students.
ending potential of the books. Some children thought there were multiple sto-
Michelle (Z): The pictures were getting big- ries in the picturebooks, some thought the stories
ger and bigger. I wondered why they were getting were interconnected, and some thought there was
bigger and bigger. First I thought the first picture no story.
was real and on and on and on. Then I was almost Andrew (RZ): The book was mainly about
positive that the girl in the magazine was real. random pictures of things. I would have liked the
Then the same with the cruise ship. book better if it wasn’t just random things and if
Jenny (RZ): I thought they were real people there was a story to it.
not fake people painted on a chest. I thought the Jerry (RZ): I liked that it kept zooming out and
boats were in the ocean, not in a fountain in a pic- all the pictures were linked together but each had
ture. I thought the house was real, not on the fan! a different story. My favourite part was the Asian
That’s a very cool postcard. Oops, I mean book! elephant and from then on because it was very
Mark (RZ): It was like everything looked interesting how the author came up with all these
live but it was only getting painted or it was on ideas and how they linked to each other.
a picture. It was also like backing up and seeing Cochim (RZ): I was thinking how the next
what it really was. I was wondering if it would scene was going to relate to the page I was read-
ever come to an end. Now I know why they called ing. I was also thinking about what the book is
it Zoom I think. Because it’s like zooming out of about and how to write it down. I was thinking
the picture. about what time period that picture book took
Zoe (Z): It could go on forever and ever and place in and why the illustrator placed that pic-
ever and ever and ever and ever [makes print- ture there.
ing smaller as she repeats the word “ever”] until As is discussed in more detail below, the
there’s nothing left. I liked how every picture was indeterminate nature between page-turns invites
different because a lot of books aren’t like that. readers to take an agentive role in filling in the
Numerous students described how they tried to iden- gaps and making connections between the recto
tify what was real in each recto. The students’ per- pages. Some students thought each recto told a
229
story, others thought that the books could be orga- constructed meaning during their reading of the
nized into sections that told stories, while other books. The students generated and modified pre-
children thought the rectos were linked and con- dictions, asked questions, and expressed opinions.
stituted one story. Although wordless books
always require readers to provide the oral/written DISCUSSION
text, the nature of Zoom and Re-Zoom encouraged
an even more active coauthoring role by readers The students’ written responses reflected their
as is evident by their responses below. intellectual and affective engagement with Ban-
yai’s picturebooks. Although readers should
Many children’s responses reflected their always be actively involved in the construction
anticipation of and fascination with the evolv- of meaning during the reading event (Iser, 1978;
ing and layered visuals in the books. The stu- Rosenblatt, 1978), the nature of wordless picture-
dents explained their thoughts about the pictures books positions readers in the role of coauthors.
and guesses about successive illustrations. In the The students had to fill in the visual gaps between
written responses of several students, they shared each recto as well as create “text” for Zoom and
their excitement, enjoyment, and surprise. Re-Zoom. The children had to interpret the visual
Lily (Z): I thought the book was very inter- signs, then fill the signifiers with meaning and
esting. I liked how the little farm became a toy make new signs (Kress, 2003).
magazine and then the magazine ended up in Iser writes about one means that authors use to
the boy’s hand and then so on . . . I would try to intensify a reader’s imaginative activity:
predict about what the next picture would be like.
I thought the cruise ship would end up as a post- . . . to cut to new characters or even to differ-
card but it was an advertisement on a bus. I also ent plotlines, so that the reader is forced to try to
thought when the world was going to get smaller find connections between the hitherto story and
and show the other planets. the new, unforeseeable situations. He is faced with
Sandra (Z): The second half does the same thing a whole network of possibilities, and thus begins
by getting farther away. At the end, the world almost himself to formulate missing links. (1978, p. 192)
turned into nothing. It gets you really excited once
you know what is happening because it makes you In Banyai’s books, every recto is a “cut” and the
really want to see the next page. I wish the ending children, as is revealed by their responses, worked
didn’t finish so fast because I wanted it to go on. to connect the scenes. As well as constructing
Jenny (RZ): In the first picture it looks like a associations among the shifting, multiple per-
lot of lines and colour. I assumed it was the man’s spectives, the students engaged in other reading
painting. On page 8, I thought strategies, such as generat-
the man was in a pyramid but Although readers should always ing questions, accessing their
on the next page, I thought oth- be actively involved in the background knowledge, imag-
erwise. I didn’t get how the tall construction of meaning during ining possibilities, anticipat-
oblong-gated pyramid got into the reading event, the nature of ing events, revising predictions,
January 2007
the middle of the city but again wordless picturebooks positions and creating sensory images.
on the next page I saw why. It’s readers in the role of coauthors. The children’s responses show
cool how it turns into a movie how they constructed, mod-
set in Egypt. I thought the movie set was in France ified, questioned, and evaluated the meanings
Vol. 84 ● No. 3 ●
but it was in the middle of the forest. they made as they read the books. The students’
reading experiences reflect Iser’s ideas about a
Fred (RZ): It just kept going and going and reader’s wandering viewpoint, how readers are
going. It ends up being a book. Why do they make “continually forming and modifying both expec-
books like this? I hate how you think, “What is tations of what is to come and interpretations of
it?” It’s a person that’s in a book that’s in another what has previously been read” (Thomson, 1984,
Language Arts ●
book. It’s really weird because you think it’s about p. 21). Thus, the Grade 5 children used a vari-
this but then it’s about something else and you’re ety of effective comprehension strategies when
thinking, “What? That’s not possible.” reading Banyai’s wordless picturebooks (Duke &
Thus, the children described some of their think- Pearson, 2002). Similar to the findings of Craw-
ing processes and affective responses as they ford and Hade, the students made sense of the
230
McCallum, 1996; Yearwood, 2002). As noted ear- though the whole world froze for that one glimpse.
lier, Dresang’s (1999) Radical Change theory, like To the mind it was like an atom bomb going off in
postmodernism, recognizes how temporal and my head. And all of a sudden I felt like I should
spatial relationships in society “have resulted in slow down in life and just live life to the fullest
historically manifested narrative forms” in litera- because there might be one and only one glimpse
ture (Holquist, 1990, p. 109). Although Dresang’s and that would be just amazing. To me it was like
(1999) theory includes many of the characteris- perfectly timed clock work. By far it was the most
tics associated with postmodern society, she does powerful literature that I have ever read. It was
not use postmodernism as a context to frame her really a philosophical book and it was great.
theory. Rather, as explained previously, she pro-
poses that the digital principles of connectivity, References
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responses to Zoom and Re-Zoom reflected how Caroff, S., & Moje, E. (1992/1993). A conversation with
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Siegel, M. (1995). More than words: The generative power Sylvia Pantaleo is associate professor in the Depart-
of transmediation for learning. Canadian Journal of Educa- ment of Curriculum and Instruction in the Faculty of
tion, 20(4), 455–475. Education at the University of Victoria, British Colum-
bia, Canada. She teaches undergraduate and gradu-
Sipe, L. (1998). How picture books work: A semiotically ate courses in children’s literature and all areas of the
framed theory of text-picture relationships. Literature in language arts.
Education, 29(2), 97–108.
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