Metaphorical Indicators of the Hyperthemes of Dune: Part One (2021): A Multimodal Cognitive-Linguistic Case Study

: In Denis Villeneuve’s Dune: Part One , the 2021 ﬁ lm adaptation of Frank Herbert’s seminal science-ﬁ ction novel from 1965, the general themes, or “hyperthemes”, of the ﬁ lmic story are often represented metaphorically, by means of more or less transparent textual indicators. The present article explores the metaphorical indicators of three hyperthemes of Villeneuve’s ﬁ lm— (1) “The power hierarchy Spacing Guild > Imperium > Great Houses > Fremen”, (2) “The feuding Great Houses: House Atreides and House Harkonnen”, and (3) “The colonization of Arrakis by the Imperium and Great Houses”—in an analytical framework combining the tenets and tools of multi-modal analysis and cognitive linguistics. Speciﬁ cally, the article explores (1) the relations between the non-metaphorical and metaphorical indicators of the hyperthemes of Dune: Part One , (2) the relations between diﬀ erent metaphorical indicators of the same hyperthemes of the ﬁ lm, (3) the relations between the verbal and non-verbal metaphorical indicators of the ﬁ lm’s hyperthemes, and (4) the variation among the metaphors sanctioning the hyperthematic indicators with regard to their interpretability.


Introduction
Thus far three major screen adaptations of Frank Herbert's 1965 science-fi ction novel Dune have been made. In 1984 the novel was adapted to the big screen by David Lynch as Dune, and in 2000 to the small screen by John Harrison as Frank Herbert's Dune (Lapointe 23). 1 The most recent screen adaptation of the novel is the 2021 fi lm Dune: Part One, directed by the French-Canadian auteur Denis Villeneuve. As its title suggests, Villeneuve's fi lm does not adapt the whole of Herbert's novel. Not unexpectedly, Dune: Part One tells roughly the fi rst half of the story. The second half is to be told in Dune: Part Two, also directed by Villeneuve. At the time of this article's writing (late 2022-early 2023), Dune: Part Two is in post-production and scheduled for release in late 2023.
The enduring popularity of Herbert's story arguably stems from the breadth, diversity, and universality of its thematic scope as the novel creatively interweaves multiple narrative-independent themes of general interest-notably power, politics, war, religion, colonialism, mind, history, ecology, heroism, masculinity, and femininity (Kennedy, Women's Agency, Critical Companion; Decker; DiTommaso; Jacob; Palumbo; Nicholas; Rogers). As a fi lm adaptation of Herbert's novel, Villeneuve's Dune: Part One naturally addresses many of the same narrative-independent themes even though it only adapts a portion of the novel and then streamlines it into a more accessible storyline by condensing Herbert's lengthy dialogues throughout and by altogether excising some of the novel's most dialogue-heavy scenes (Craig;Lapointe 24).
As Villeneuve's fi lm deliberately moderates its reliance on the verbal mode, much of the fi lmic storytelling is done non-verbally, in the visual mode and in the aural mode, making Dune: Part One a prime example of a balanced multimodal narrative. Interestingly, the fi lm's multimodal storytelling involves the use of a considerable number of metaphorical representations, which serve as textual indicators of the fi lm's three major narrative-dependent themes, or "hyperthemes" (Post 141), which are best conceived of as taking the form of "theme-threads" (Post 145) connecting multiple, albeit not necessarily consecutive, scenes. The present article explores these metaphorical indicators from the combined perspective of multimodal analysis and conceptual metaphor theory, thus situating itself in the research area referred to as "multimodal cognitive linguistics" (Langlotz 55).
In line with current multimodal cognitive linguistic research, the present article explores (1) the relations between the non-metaphorical and metaphorical indicators of the hyperthemes of Dune: Part One, (2) the relations between diff erent metaphorical indicators of the same hyperthemes of the fi lm, (3) the relations between the verbal and non-verbal metaphorical indicators of the fi lm's hyperthemes, and (4) the variation among the metaphors sanctioning the hyperthematic indicators with regard to their interpretability. Structurally, the present introduction is followed by three sections. Section 2 introduces the article's theoretical background of multimodal cognitive linguistics. Section 3 defi nes the scope of the analysis, outlines the diegetic universe of Dune: Part One, presents the analysis of the metaphorical indicators of the fi lm's hyperthemes, and discusses the outcomes of the analysis. Section 4 presents the conclusions drawn from the outcomes of the analysis.

Theoretical background
The present article is theoretically anchored in multimodal analysis and cognitive linguistics. It embraces the key assumption of multimodal analysis whereby communication typically involves simultaneous, coordinated use of multiple established means of making meaning dubbed "modes" (see, e.g., Jewitt,Bezemer,Bateman,Wildfeuer,and Hiippala 15). Furthermore, this article subscribes to the associated idea, broadly accepted by theorists of multimodality, that fi lms-along with advertisements, comics, posters, tourist brochures, and other kinds of systematically organized "modal ensembles" (Bezemer and Kress 6)-constitute multimodal "texts" (see, e.g., Kress and van Leeuwen 24; Bateman,Wildfeuer,and Hiippala 132;. Like their purely verbal counterparts, multimodal texts communicate themes of varying generality, but they do so through simultaneous, coordinated use of the multiple modes at their disposal . As to cognitive linguistics, the present article espouses the basic tenets of conceptual metaphor theory. According to this theory's proponents, a conceptual metaphor consists of unidirectional cross-domain mappings (Lakoff and Johnson 112;Sweetser 19;Gibbs 238;Grady 191) between selected elements of the cognitively more accessible "source domain" and their counterparts in the cognitively less accessible "target domain" 112;. Conceived of in this way, conceptual metaphors are cognitive instruments that facilitate the understanding of their target domains (Kövecses 37). Conceptual metaphors are said to make up a continuum from novel (also referred to as "creative", Forceville "Pictorial and Multimodal Metaphor") to conventionalized, with novel metaphors being typically based on the ones that are conventionalized (Lakoff and Turner). Additionally, conceptual metaphors are said to be variously interrelated with predominantly referential conceptual metonymies, characterized as domain-internal mappings from a "vehicle concept" to a corresponding "target concept" Lakoff ,Women,Fire,and Dangerous Things 382;. Last but not least, since conceptual metaphors are patterns of thought, they are mode-independent and may be expressed verbally and/or non-verbally (Lakoff ,"The Contemporary Theory of Metaphor" 241;Müller).
The cross-pollination of the idea that texts are typically multimodal and the idea that conceptual metaphors are mode-independent has given rise to a strand of research into how conceptual metaphors are expressed in various multimodal texts: advertisements, artworks, cartoons, comics, animated fi lms, feature fi lms, and even medieval textiles. 2 The present article fi rmly belongs to this rich and developing research strand, which arguably constitutes the backbone of multimodal cognitive linguistics (Forceville, "Multimodality"), along with studies of multimodality informed by theories closely related to conceptual metaphor theory, such as the image schema theory and the conceptual integration theory (also known as blending theory) (Szawerna,"Modality" 190). Additionally, this article adopts Forceville's ("Pictorial and Multimodal Metaphor") distinction between "visual metaphors", in which the source and the target domain are both represented in the visual mode, and "multimodal metaphors involving visuals", in which either the source or the target domain is rendered exclusively or predominantly in the visual mode.

Analysis and discussion
This section defi nes the article's analytical scope, outlines the diegetic universe of Dune: Part One, presents the analysis of the metaphorical indicators of the fi lm's hyperthemes, and discusses the outcomes of the analysis.

Scope and structure of the analysis
The scope of the analysis includes the hyperthemes that are metaphorized in Dune: Part One. As a corollary, the fi lm's hyperthemes that are not metaphorized are excluded from the article's analytical scope. The metaphorical indicators of the fi lm's hyperthemes are analyzed and discussed from the vantage point of multimodal cognitive linguistics in three consecutive subsections. Subsection 3.3 examines the fi lm's metaphorization of the hypertheme "The power hierarchy Spacing Guild > Imperium > Great Houses > Fremen", which presupposes the general, narrative-independent themes of power, politics, and colonialism. Subsection 3.4 examines the fi lm's metaphorization of the hypertheme "The feuding Great Houses: House Atreides and House Harkonnen", which presupposes the general, narrative-independent themes of power, politics, and war. Lastly, subsection 3.5 examines the fi lm's metaphorization of the hypertheme "The colonization of Arrakis by the Imperium and Great Houses", which presupposes the general, narrative-independent themes of power, politics, war, colonialism, ecology, masculinity, and femininity. These data-driven subsections are preceded by a brief outline of the diegetic universe of Dune: Part One, which provides the requisite informational background for the ensuing analysis and discussion.

Outline of the diegetic universe of Dune: Part One
As is the case with the fi lm's literary source, the diegetic universe of Dune: Part One is rich and complex. The fi lm is set far into the future, in a world where humans had prohibited the construction and use of thinking machines and staked their fate on developing mental abilities that enabled them to master interstellar travel and populate multiple planetary systems without relying on artifi cial intelligence. This was made possible through the consumption of "spice", an addictive substance that extends life and expands consciousness. The spice is found exclusively on planet Arrakis, also referred to as the titular Dune. Those with access to this precious natural resource keep the power in the diegetic universe of the fi lm. The Spacing Guild has access to the spice on account of its monopoly on interstellar travel, which enables the very existence of an interplanetary civilization ruled by the Imperium and the Great Houses. This feudal structure controls the production of the spice, with the Great Houses competing against each other for the fi ef of Arrakis, bestowed by the Emperor.
Against this backdrop, Dune: Part One tells the story of a plot against House Atreides devised by the Emperor and House Harkonnen. The Emperor takes the control of Arrakis and spice production away from the Harkonnens, who have ruled over the planet with an iron fi st for nearly a century, and gives it to House Atreides. Fully expecting the Emperor's gift to be a trap meant to isolate the Atreides on Arrakis before their annihilation, Duke Leto Atreides accepts it in the hope that he can enlist the help of the Fremen, the planet's valorous inhabitants, and in this way counter the existential threat posed by his enemies. Before Duke Leto's plan can come to fruition, however, the Atreides are betrayed by their physician, Doctor Yueh, and Arrakis is invaded by the combined Harkonnen-Imperial landing force, who swiftly defeat the Atreides. Duke Leto dies, but his only child, the ducal heir Paul Atreides, and Lady Jessica, Paul's mother and member of the Bene Gesserit sisterhood, manage to survive the onslaught and fi nd refuge among the Fremen, who have been manipulated by the Bene Gesserit missionaries to believe that Paul may be their messiah, the chosen one who will save them from oppression and make a paradise of Arrakis. In reality Paul is the result of a Bene Gesserit selective breeding programme aimed at producing the "kwisatz haderach", a eugenic superman intended to lead humanity into a better future.
3.3. Metaphorization of the hypertheme "The power hierarchy Spacing Guild > Imperium > Great Houses > Fremen" The verbal indicators of this hypertheme appear in the expository scenes of Dune: Part One. In the prologue, the Fremen warrior Chani utters the following words: Chani (VO): "Our warriors couldn't free Arrakis from the Harkonnens, but one day, by an Imperial decree, they were gone. Why did the Emperor choose this path, and who will our next oppressors be?" (Dune: Part One 00:02:45-00:03:00) From Chani's utterance the viewers will no doubt infer that the Fremen are the least powerful community in the diegetic world of Dune: Part One. They are oppressed by one of the Great Houses, House Harkonnen, and cannot free their planet from the oppressors. The viewers will also infer that the Great Houses are less powerful than the Imperium as the Harkonnens do the Emperor's bidding.
In a following expository scene, Paul Atreides is watching an educational presentation about Arrakis, spice, and the Fremen. At one point, Paul hears the presenter say the following lines: Presenter (VO): "Spice is used by the navigators of the Spacing Guild to fi nd safe paths between the stars. Without spice, interstellar travel would be impossible, making it by far the most valuable substance in the universe." (Dune: Part One 00:06:20-00: 06:40) From this utterance the viewers will likely infer that the Spacing Guild is the most powerful organization in the diegetic world of Dune: Part One because the Spacing Guild controls interstellar travel, which in turn makes it possible for the Imperium to exist and exercise its power over the Great Houses.
On the whole, the verbal indicators of this hypertheme in Dune: Part One enable the viewers to infer, more or less straightforwardly, that the power hierarchy in the fi lm's diegetic world is such that the Spacing Guild controls the Imperium, which in turn dominates the Great Houses, which in turn hold power over the Fremen. While the verbal indicators represent the power hierarchy "Spacing Guild > Imperium > Great Houses > Fremen" non-metaphorically in Dune: Part One, the fi lm also contains metaphorical indicators of this hierarchy, albeit in the visual mode.
Early in the fi lm there is a scene in which Duke Leto Atreides formally accepts the fi efdom of Arrakis granted him by the Emperor. This scene is preceded by a sequence showing the arrival of an Imperial envoy on Caladan, the homeworld of House Atreides. In this sequence, an immense Spacing Guild "heighliner" appears on orbit over planet Caladan. From the heighliner a tiny Imperial spaceship emerges and then proceeds to land on Caladan ( Fig. 1). As it approaches the planet's surface, the tiny spaceship turns out to be huge in comparison with the environment. The spaceship's massive form dominates the landscape and dwarfs the Atreides welcoming committee (Fig. 2).
In this sequence, a segment of the power hierarchy comprising the Spacing Guild, the Imperium, and the Great Houses is visually metaphorized in terms of size and vertical elevation, that is, consistently with the conventional image-schematic metaphors 3 (Listen 44) and , also known as ; 4 (Lakoff and Johnson 15). Importantly, the visual metaphorization of the segment "Spacing Guild > Imperium > Great Houses" in terms of size and vertical elevation depends on a --visual metonymization of the Spacing Guild as the Spacing Guild heighliner, the Imperium as the Imperial envoy's ship, and House Atreides as the Atreides welcoming committee.
In other words, the Spacing Guild heighliner has to stand for the entire Spacing Guild in order for the vessel's size and vertical elevation to represent the Guild's power; the Imperial envoy's spaceship has to stand for the entire Imperium in order for the ship's size and vertical elevation to represent the power of the Imperium; and the Atreides welcoming committee has to stand for the entire House Atreides  in order for the committee's size and vertical elevation to represent the power of this Great House. Interpreted in this way, the sequence showing the Imperial envoy's arrival on Caladan may be considered a visual counterpart to one kind of Goossens's "metaphtonymies", referred to as "metonymy within metaphor" (333), whereby "a metonymically used entity is embedded in a (complex) metaphorical expression" and the "[t]he metonymy functions within the target domain" (336).
The metaphtonymic visual representation of the power hierarchy segment "Spacing Guild > Imperium > Great Houses" in the sequence showing the Imperial envoy's arrival on Caladan prompts the viewers to interpret the Spacing Guild as being more powerful than the Imperium, and the Imperium as being more powerful than House Atreides because the Guild heighliner is larger and more elevated than the envoy's spaceship, which is in turn larger and more elevated than the Atreides welcoming committee. This visual metaphtonymy may be novel, but it is readily understood by the viewers because its interpretation rests on the conceptually well-entrenched metonymy and the conceptually well-entrenched metaphors and . The remaining segment of the power hierarchy, comprising the Great Houses and the Fremen, is visually metaphorized, also in terms of vertical size and elevation, later in the fi lm, in a sequence showing the Atreides' crossing from Caladan to Arrakis. In this sequence, a massive Atreides fl agship touches down on a landing fi eld where a throng of Fremen awaits the arrival of House Atreides (Fig. 3). As was the case with the previous example, the visual metaphorization of a segment of the power hierarchy in accordance with the metaphors and depends on a --visual metonymization, though in this case of House Atreides as the landing Atreides fl agship and of the Fremen as the Fremen welcomers on the landing fi eld. Analogously to the previous example, the "metonymy within metaphor" (Goossens 333) metaphtonymic visual representation of the segment "Great Houses > Fremen" in the sequence showing the Atreides' arrival on Arrakis prompts the viewers to interpret House Atreides as being more powerful than the Fremen because the Atreides fl agship is situated above the Fremen welcomers and appears larger than the throng. Like the previously discussed visual metaphtonymy, this one may be novel, but it is eff ortlessly interpreted by the viewers because it invokes the conceptually well-entrenched metonymy and the conceptually well-entrenched metaphors and .
3.4. Metaphorization of the hypertheme "The feuding Great Houses: House Atreides and House Harkonnen" House Atreides, House Harkonnen, and their feud make up the next metaphorized hypertheme of Dune: Part One. The major verbal indicators of House Atreides appear in the expository scenes during the fi rst hour of the fi lm.
In a scene where Paul Atreides and his father, Duke Leto Atreides, visit their ancestral cemetery, the Duke sheds light on the current situation of House Atreides for his son's benefi t: Duke Leto Atreides (to Paul Atreides): "When we get to Arrakis, we'll face enormous danger. … Political danger. The Great Houses look to us for leadership, and this threatens the Emperor. By taking Arrakis from the Harkonnens and making it ours, he sets the stage for a war which will weaken both Houses." (Dune: Part One 00:13:21-00:13:43) In a following scene, Baron Harkonnen comments on the Emperor's decision to take the fi efdom of Arrakis away from House Harkonnen and to grant it to House Atreides: Beast Rabban (to Baron Harkonnen): "Uncle, how can we let this happen? How can the Emperor take everything we've built and give it to that Duke? How?" Piter De Vries (to Rabban): "Don't be too sure it's an act of love." Beast Rabban (to the Baron): "What does he mean?" The Baron (to Rabban): "When is a gift not a gift? The Atreides' voice is rising, and the Emperor is a jealous man. A dangerous, jealous man." (Dune: Part One 00:19:04-00: 19:43) Later in the fi lm, the Baron receives a message from the Emperor's special emissary, the Reverend Mother Mohiam: Baron Harkonnen (to Reverend Mother Mohiam): "What is the Emperor's message?" The Reverend Mother (to the Baron): "He will strengthen your hand." The Baron (to the Reverend Mother): "With his Sardaukar army." The Reverend Mother (to the Baron): "It must never be known." The Baron (to the Reverend Mother): "There's no satellite over Arrakis. The Atreides will die in the dark." (Dune: Part One 00:45:45-00:46:07) From these lines the viewers will likely infer that the Emperor wants to get rid of the more and more popular House Atreides, and so he plots with House Har-konnen to destroy the Atreides on Arrakis, where they will be completely isolated, by means of the Harkonnen army and with the help of his elite troops, the Sardaukar. The viewers will no doubt conclude that the Atreides are in dire straits and their predetermined extinction is inevitable.
In Dune: Part One the precarious position of House Atreides is communicated visually through novel metaphors, but the source domains of the metaphors are not explicit, making the metaphors somewhat covert. The formal uniforms of the Atreides (Fig. 4) were designed to resemble the uniforms of the last Russian emperor, Nicholas II Romanov (Lapointe 46;Warner Bros. Entertainment), and the outfi t of Doctor Yueh (Fig. 5) was styled after the garments worn by Grigori Rasputin, a self-proclaimed mystic who befriended the Romanovs by acting as a healer for the their only son, the hemophiliac Alexei (Lapointe 77).  Specifi cally, the design of the costumes confers metaphorical construal on the Atreides and Doctor Yueh, whereby and -. The visual metaphors are motivated by the similarities observable, on the one hand, between the Atreides and the Romanovs (both are reigning houses doomed to become extinct), and, on the other hand, between Doctor Yueh and Grigori Rasputin (each acted as a healer to the only son of his high-born patron; each pursued a personal agenda that did not necessarily align with that of his patron).
With relation to the verbal indicators of House Atreides, it is by no means obvious that the visual metaphors and reinforce the verbally communicated idea that the Atreides are in dire straits and doomed to die. This is so because (1) the costumes have relatively low visual "cue validity" (cf. Taylor 225) with respect to the source domains of the metaphors, that is, they do not provide reliable visual cues for a successful identifi cation of the respective source domains ( and -), and (2) the source domains themselves are not familiar concrete concepts grounded in everyday experience (Lakoff and Johnson 122;.
Another novel metaphor characterizing House Atreides, and in particular Paul Atreides, in Dune: Part One involves the concept of as its source domain. Throughout the fi lm, a relation is established between Paul and the kangaroo mouse. The animal's signifi cance in Dune: Part One is insightfully discussed in Empire of the Mind's educational video "Explaining Dune's Imagery: We Are Only so Great as Our Symbols." The following analysis utilizes some information from this video.
In a scene where he is nearly assassinated by the remotely controlled "hunter-seeker", Paul sees a holographic projection of a kangaroo mouse feeding among desert plants as he is learning about the planet and its inhabitants. When the hunter-seeker appears, Paul hides inside the holographic image of the plants in order to confuse the assassination device. Later in the fi lm, Paul and his mother manage to survive the combined Harkonnen-Imperial invasion of Arrakis, but are on the run from their enemies. In the desert, they spend a night in a Fremen-made "stilltent". During the night, the stilltent is covered with a thick layer of sand, and Paul is forced to dig his way up to the surface using a Fremen-made "sand compactor". When Paul reaches the surface, he notices a live kangaroo mouse hopping nearby (Fig. 6). Subsequently, Paul and his mother fi nd a brief refuge in an abandoned ecological testing station. Inside the station a conversation ensues between Paul and the Imperial "planetologist" Doctor Kynes in which she calls Paul "a lost boy hiding in a hole in the ground" (Dune: Part One 01:43:35-01:43:37). Towards the end of the fi lm, Paul has a vision in which Chani leads him into a cave and shows him a kangaroo mouse that lives there inside a small, tent-like structure. In this vision, Paul hears a voice say: "Don't be frightened. Even a little desert mouse can survive" (Dune: Part One 02:01:21-02:01:35). On the whole, the kangaroo mouse of Arrakis is used in Villeneuve's fi lm as a multimodal metaphorical representation of "Paul growing and adapting" (Lapointe 197). More specifi cally, the novel multimodal metaphor indicates that though Paul may be alone and weak at this point in the story-his father is dead, and House Atreides is all but annihilated by the Harkonnens-he may yet prevail in his struggle against the Harkonnens and the Emperor if he is clever, energetic, and resourceful (cf. Zygmunt 80). The use of this multimodal metaphor in Dune: Part One foreshadows a future point in the story, familiar to the readers of Herbert's novel, where Paul adopts the Fre men word Muad'Dib, which refers to the kangaroo mouse of Arrakis, as his Fremen name. Until this event has been shown in Dune: Part Two, which is currently in production, the multimodal metaphor additionally functions as a transmedial intertextual reference. As to House Harkonnen, its verbal indicators also appear in several expository scenes in the fi rst hour of Dune: Part One. In the fi lm's prologue, Chani utters the following lines: "Their [= the Harkonnens'] cruelty to my people is all I've known" (Dune: Part One 00:01:39-00:01:42); "By controlling spice production they [= the Harkonnens] became obscenely rich" (Dune: Part One 00:01:50-00:01:54).
In a following scene, where Paul Atreides practises fencing under the eye of Gurney Halleck, the Atreides' warmaster, Halleck comments on the nature of the Harkonnens: Gurney Halleck (to Paul Atreides): "You don't get it, do you? You don't really understand the grave nature of what's happening to us. For eighty years Arrakis belonged to House Harkonnen. Eighty years of owning the spice fi elds. Can you imagine the wealth? Your eyes. I need to see it in your eyes. You never met the Harkonnens before. I have. They're not human. They're brutal! You have to be ready." (Dune: Part One 00:17:43-00:18:09) In a previously referenced scene, the Baron receives the Emperor's message regarding their plan to destroy House Atreides: Baron Harkonnen (to Reverend Mother Mohiam): "What is the Emperor's message?" The Reverend Mother (to the Baron): "He will strengthen your hand." The Baron (to the Reverend Mother): "With his Sardaukar army." The Reverend Mother (to the Baron): "It must never be known." The Baron (to the Reverend Mother): "There's no satellite over Arrakis. The Atreides will die in the dark." (Dune: Part One 00:45:45-00:46:07) From these lines the viewers will readily infer that the Harkonnens are greedy, conniving, and inhuman enemies of House Atreides, who plot to destroy the Atreides on Arrakis with the help of the Emperor and in this way regain control of spice production and of the planet itself.
Throughout Dune: Part One, the Harkonnens are visually metaphorized in several mutually coherent ways. Early in the fi lm, the previously referenced fencing practice scene concludes with Gurney Halleck saying "They're not human. They're brutal! You have to be ready" (Dune: Part One 00:18:04-00:18:09). Halleck's utterance is followed by a prolonged shot of three wooden practice dummies (Fig. 7) that foreshadows the appearance of the three principal Harkonnens-the Baron, his nephew Rabban, and the Harkonnen Mentat Piter (Fig. 8)-in the next scene (Lapointe 68). The number of the dummies and their appearance (in particular, their bald heads) indicate that they metaphorically represent the three principal Harkon nens (cf. Zygmunt 31). The novel visual metaphor highlights two important characteristics of the Harkonnens: (1) their status as adversaries of the Atreides and (2) their inhumanity (the dummies are faceless and mechanical-looking). This novel metaphor seems fairly overt since (1) the props provide reliable visual cues for a successful identifi cation of the source domain (they look like actual fencing practice dummies, and Paul Atreides is shown hitting one of them repeatedly with a sword at the beginning of the fencing practice scene) and (2) the source domain is a concrete concept, though perhaps not a highly familiar one.
The Harkonnens' lack of humanity is also communicated via a novel visual metaphor / . The outfi ts worn by Harkonnen soldiers were designed to resemble the bodies of insects (specifi cally, ants) and arachnids (Lapointe 104; Warner Bros. Entertainment) (Fig. 9); the spice harvesters belonging to the Harkonnens look like giant fl eas or ticks (Aesthety) (Fig. 10);  the Harkonnens' nightmarish pet is a human-sized spider with human hands and head (Fig. 11); and the hunter-seeker they use in their assassination attempt on Paul resembles a mosquito (Fig. 12).   (2021). The novel visual metaphor is realized through visual similarities between the Harkonnens and the vampires from fi lm and television in terms of appearance, costumes, and environment. In particular, in Dune: Part One the Harkonnens are bald, have pale skin, wear black, and are shown, almost invariably, either in dark interiors or in night exteriors. The visual metaphor highlights the Harkonnens' inhumanity and their parasitic modus operandi. This novel metaphor seems quite overt. Due to the long-lived and widespread popularity of fi lm and television productions featuring vampires, the generic image of the screen vampire is conceptually well entrenched.
As to the feud between House Atreides and House Harkonnen, it is metaphorized in Dune: Part One in two diff erent ways, with one of the metaphors being fairly overt, and the other quite covert. The overt metaphor contains the concept of as its source domain. The signifi cance of this concept for the interpretation of Villeneuve's fi lm is insightfully addressed in the previously referenced video "Explaining Dune's Imagery: We Are Only so Great as Our Symbols." The following analysis is partly based on information provided in this video.
In the diegetic world of Dune: Part One, the Old Duke Atreides, father to Duke Leto and grandfather to Paul, was a bullfi ghter until he was killed by a bull in the arena. This backstory is represented visually as well as verbally in the fi lm's expository scenes. Early in the fi lm, a portrait of the Old Duke as a matador is shown hanging on a wall at Castle Caladan. Beneath the portrait stands a fi gurine of a bullfi ghter facing an enormous bull (Figs. 13-14).  Later in the fi lm, in the previously referenced scene of Duke Leto Atreides and his son, Paul, visiting their ancestral cemetary, the grave of the Old Duke is shown, with an image of a bullfi ght engraved on the ledger (Fig. 15). At one point in this scene Paul says, "And Grandfather fought bulls for sport!", to which Duke Leto responds, "Yes! Look where that got him!" (Dune: Part One 00:13:08-00:13:13). Duke Leto then goes on to say to Paul, "I need you by my side. When we get to Arrakis, we'll face enormous danger. … A political danger (Dune: Part One 00:13:18-00:13:28). At this point a connection is established both verbally and visually between bullfi ghting and the Atreides-Harkonnen feud. If the matador Old Duke signifi es the Atreides through the metonymy , which is a novel instance of the schematic metonymy (Lakoff and Johnson 38) whereby the "leader becomes metonymic for … the organization" (Rendtorff 18), 5 the bull has to signify the Atreides' old nemesis: the Harkonnens. It does so metaphorically by virtue of its great size, enormous strength, and aggressive nature (Zygmunt 41). Additionally, however, there is a symbolic relation expressed in the verbal mode between the Harkonnens and the bull. The name Harkonnen is based on the common Finnish surname Härkönen, which in turn derives from the Finnish noun härkä, variously meaning "ox", "bullock", "steer", "the male of horned animals, such as yak, reindeer, or moose", "the astronomical/astrological Bull, a.k.a. Taurus", and "beef" ("House Harkonnen"; "bull"; "härkä").
In a following scene, the taxidermied head of the bull that killed the Old Duke is shown hanging on a wall at Castle Caladan (Dune: Part One 00:22:33). The bull's head appears again in a brief scene that shows the Atreides preparing for the crossing from Caladan to Arrakis (Dune: Part One 00:31:48). The Atreides are taking the head with them to Arrakis, where they fully expect to be attacked by their enemies (Fig. 16). In a scene immediately preceding the Harkonnen-Imperial invasion of the Atreides' palace on Arrakis, Paul is shown contemplating the fi gurine of a bullfi ghter and bull (Dune: Part One 01:12:26). After the invasion, when the Atreides are defeated and Duke Leto fi nds himself in the hands of the Harkon nens, he opens his eyes and looks up at the bull's head hanging up above him (Dune: Part One 01:26:45). Finally, when Duke Leto dies in a failed attempt to kill Baron Harkonnen, a shot of his dead body is followed by a shot of the bull's head dominating the scene (Dune: Part One 01:32:17). The novel multimodal metaphor -highlights the contrast between the sophisticated fi ghting skills of the cultured House Atreides and the brute strength of the dehumanized House Harkonnen. It also emphasizes the fact that the Harkonnens are truly formidable adversaries of the Atreides. This novel metaphor has both overt and covert elements. On the one hand, due to the cultural prominence of Spanish-style bullfi ghting, corrida de toros, and its continuing presence in literature, fi lm, and the arts ("Bullfi ghting"), the source domain of is conceptually well entrenched. On the other hand, the viewers are likely unaware of the etymological connection between the name Harkonnen and the Finnish noun meaning "ox", "bull", or "Taurus". Technically, the representation of the Atreides-Harkonnen feud in terms of a bullfi ght qualifi es as a further instance of Goossens's metaphtonymy "metonymy within metaphor" (333). In this case the metonymically used entity is the Old Duke Atreides, who stands for the entire House Atreides by virtue of the schematic metonymy -. Unlike -, the other novel metaphor representing the feud between House Atreides and House Harkonnen in Dune: Part One is largely covert.
At one point in the fi lm, the relation between the Harkonnens and the Atreides is visually metaphorized as the relation between the two moons of Arrakis: the huge fi rst moon and the tiny second moon (Fig. 17). The fi rst moon represents the Harkonnens metonymically, through the novel visual metonymy , which in turn instantiates the schematic metonymy -. As pointed out by Zygmunt (38), the link between the fi rst moon and the Baron is established through iconic similarity between a prominent shot of the Baron with his hand across his forehead early in Dune: Part One (Fig. 18) and the "markings resembling the shape of a hand" (Lapointe 127) on the moon's surface shown later in the fi lm (Fig. 17).  Analogously, the second moon represents the Atreides metonymically, via the visual metonymy , also a novel instance of the schematic metonymy . In this case, however, the link between the second moon and Paul Atreides is established less directly, via an iconic image of the kangaroo mouse of Arrakis, which functions as the source domain of the previously discussed metaphor , since the second moon "has craters in the shape of a desert kangaroo mouse" (Lapointe 127).
On the whole, the novel visual metaphor highlights the power discrepancy between the powerful House Harkonnen and the powerless House Atreides through the size discrepancy between the two moons. In this way, the visual representation of the two moons of Arrakis in Dune: Part One becomes a novel instance of the conventional image-schematic metaphor (Zygmunt 37). The metaphor also highlights the fact that the fates of the two houses are bound together and depend on Arrakis just as the two moons revolve around Arrakis and are gravitationally infl uenced by the planet as well as each other.
The novel visual metaphor is largely covert. While the viewers may take note of the iconic similarity between the shot of the Baron with the hand across his forehead and the hand-shaped markings on the surface of the fi rst moon, they will most likely overlook the point that the second moon represents House Atreides because the image of the kangaroo mouse on the surface of the moon is barely recognizable, its onscreen presence is very brief, and the metaphorical relation between the mouse and Paul Atreides is established later in Dune: Part One.
3.5. Metaphorization of the hypertheme "The colonization of Arrakis by the Imperium and Great Houses" The colonization of Arrakis is the last hypertheme of Dune: Part One whose metaphorization is discussed in the present article. The verbal indicators of this hypertheme appear throughout the fi lm.
In the prologue, Chani comments on the actions of the Harkonnens as colonizers of Arrakis: Chani (VO): "The planet Arrakis is so beautiful when the sun is low. Rolling over the sands, you can see spice in the air. At nightfall, the spice harvesters land. The outsiders race against time to avoid the heat of the day. They ravage our lands in front of our eyes. Their cruelty to my people is all I've known. These outsiders, the Harkonnens, came long before I was born. By controlling spice production, they became obscenely rich. Richer than the Emperor himself. Our warriors couldn't free Arrakis from the Harkonnens, but one day, by an Imperial decree, they were gone. Why did the Emperor choose this path, and who will our next oppressors be?" From these lines, the viewers will readily infer that the colonizers are greedy, and their only concern is profi t, so they destroy the planet's environment, oppress the workers, and attempt to exterminate the local population.
This negative evaluation of the colonizers of Arrakis is also communicated metaphorically in Dune: Part One through the fi lm's visuals. As was previously mentioned, the spice harvesters used by the Harkonnens look like giant fl eas or ticks (Aesthety) (Fig. 19). The novel visual metaphor ' highlights the parasitic and therefore harmful nature of the Harkonnens' colonization of Arrakis (cf. Zygmunt 28-29). In contrast, the spice harvesters used by the Atreides do not look like bloodsucking animals. If anything, they resemble robot vacuum cleaners (Fig. 20). The novel visual metaphor ' -highlights the somewhat less harmful nature of the Atreides' colonization of Arrakis in comparison with that of the Harkonnens. This is not to say that the Atreides' colonization of Arrakis is presented in Dune: Part One in a positive light. Quite the contrary, in Villeneuve's fi lm the Atreides' crossing from Caladan to Arrakis is presented visually in a way suggesting an interpretation consistent with the novel metaphor (Fig. 21). This novel visual metaphor captures the Atreides fl eet as multiple sperms emerging from the penis-shaped Spacing Guild heighliner and travelling in the direction of the colonized planet, which looks like an ovum. For its interpretation, the visual metaphor depends on a --  visual metonymization of the rapist and the rape victim with reference to the penis and the ovum, respectively. Interpreted in this way, the sequence showing the Atreides' crossing from Caladan to Arrakis may be regarded as a variant of Goossens's metaphtonymy "metonymy within metaphor" (333) in which the metonymy functions within the source domain.
The visual representation of the colonization of Arrakis as rape in Dune: Part One seems only partly overt because although the concept does function as a source domain for the metaphorization of various "kinds of defeat and damage to entities of many diff erent kinds" , the computer-generated models of the Spacing Guild heighliner, the Atreides fl eet, and planet Arrakis in the shot reproduced in Figure 21 do not provide completely reliable visual cues for a successful identifi cation of their respective counterparts in the source domain : the penis, the sperms, and the ovum. At this juncture, it should also be pointed out that while the image of Figure 21 does superfi cially resemble the image of Figure 1, which shows the Imperial envoy's spaceship emerging from a similar heighliner over planet Caladan, it is only the former image that is susceptible to interpretation in terms of the novel visual metaphor capturing colonization as rape.
There are two reasons why this is the case. Firstly, the shot reproduced in Figure 21 represents the landing of a colonizing force, that is, the kind of deleterious event that is likely to be metaphorized as rape , whereas the shot reproduced in Figure 1 represents a high-level diplomatic visit, a largely peaceable event that does not readily invite metaphorization in terms of rape. Secondly, the composition of the shot reproduced in Figure 21 seems to activate the metaphor's source domain of more eff ectively than the composition of the shot reproduced in Figure 1. In comparison with the latter image, the former one shows the huge heighliner aligned somewhat more perpendicularly to the surface of the nearby planet, with the result that the penis-like spaceship appears to be aimed at the ovum-like planet. Additionally, the multiple landing craft emerging from the highliner in the image of Figure 21 make up an aggregation reminiscent of the sperms emitted in an ejaculation.

Conclusion
The analysis and discussion of the cross-modal data from Dune: Part One in the data-driven portion of the present paper has warranted several generalizations. As to the relations between the non-metaphorical and metaphorical indicators of the fi lm's hyperthemes, the analysis has revealed that thematic elements are for the most part represented metaphorically in the visual rather than the verbal mode, making their verbal and visual indicators both mutually non-redundant and mutually coherent. For example, the inhumanity that is non-metaphorically ascribed to the Harkonnens in the verbal mode by Gurney Halleck and Chani is also prompted by the visual metaphorization of the Harkonnens as / . Similarly, the precarious position of the Atreides and their impending doom that are referred to non-metaphorically in the verbal mode by Duke Leto and Baron Harkonnen are also prompted by the visual metaphor -. The division of labour between the visual mode and the verbal mode in Dune: Part One, whereby the visual mode quite consistently communicates thematic elements metaphorically and the verbal mode quite consistently communicates them non-metaphorically, is certainly a factor conributing to the eff ectiveness of the fi lm's multimodal storytelling.
Another such factor concerns diff erent metaphorical indicators of the same hyperthemes of Dune: Part One, which are interrelated through the source domains of the underlying metaphors. More specifi cally, these metaphorical source domains are mutually coherent since they overlap with each other conceptually, albeit they do so to a vaying extent. For example, throughout Villeneuve's fi lm the Harkonnens are variously metaphorized as , / , , and of corrida. These source domains overlap conceptually to the extent that (1) all of them represent non-human entities, (2) some of them ( / , , ) represent (real or imaginary) creatures that pose danger to humans, (3) some of them ( / , ) represent animals that pose danger to humans, (4) some of them ( , ) represent (real or imaginary) traditional human adversaries, and (5) some of them ( , -) represent entities that visually resemble humans. These metaphorical source domains mutually reinforce the characterization of the Harkonnens as formidable inhuman enemies of the Atreides.
As regards the relations between the verbal and non-verbal metaphorical indicators of the hyperthemes of Dune: Part One, it has already been pointed out that Villeneuve's fi lm contains very few hyperthematic indicators that are verbal as well as metaphorical. Additionally, the few verbal metaphorical indicators of the fi lm's hyperthemes that do appear in Dune: Part One are not immediately apparent. For example, Doctor Kynes's description of Paul Atreides as "a lost boy hiding in a hole in the ground" (Dune: Part One 01:43:35-01:43:37) may be taken either as a non-metaphorical reference to the fact that Paul and his mother hid from their enemies in a stilltent that was subsequently buried in the sand or as a verbal metaphor capturing Paul as the kangaroo mouse of Arrakis. In fact, it is only in the context of the entire fi lm that the latter interpretation gains conceptual prominence, not least because the image of the kangaroo mouse inside his little tent-like home appears towards the very end of the fi lm. Similarly, the verbal metaphorization of House Harkonnen as the bull immanent in the very name of this Great House will likely elude the attention of the vast majority of the fi lm's viewers for the trivial reason that they do not speak Finnish.
As to the variation among the metaphors sanctioning the fi lm's hyperthematic indicators with regard to their interpretability, these metaphors are invariably novel, but they run a gamut between being mostly overt and being quite covert. The overt metaphors are interpretable because that are based on conventional metaphors whose source domains are conceptually prominent and easily recognizable in the indicators themselves. For example, the novel visual metaphor representing the power hierarchy in the diegetic universe of Dune: Part One in terms of size and vertical elevation seems fairly overt because its interpretation is facilitated by the conventional metaphors and , whose respective source domains ( and ) are familiar concepts grounded in recurring experience that are easily recognizable in the textual indicators of this novel visual metaphor.
In contrast, the covert metaphors pose an interpretative challenge because they are not based on conventional metaphors, and their source domains are neither conceptually prominent nor easily recognizable in the indicators themselves. For instance, the novel visual metaphors and appear to be quite covert because neither the formal uniforms of the Atreides nor the outfi t worn by Doctor Yueh provide fully reliable visual cues for a successful identifi cation of the respective source domains ( and ), and the source domains themselves are not familiar concepts grounded in everyday experience. On the whole, the analysis and discussion of the cross-modal data retrieved from Dune: Part One in the datadriven portion of the present paper has shown that the metaphors sanctioning the hyperthematic indicators in Dune: Part One tend to be at least partly covert and therefore unobtrusive. This may well have been Villeneuve's intention as overly explicit metaphorization of the fi lm's hyperthemes could have taken the viewers out of the fi lm by cancelling their willing suspension of disbelief in the events shown on the screen.