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The role of digital video media in second language listening ...

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Recall that Videotext Three was considered to be the most difficult by the listeners.As expected, both Alison and Cather<strong>in</strong>e paused first to read the headl<strong>in</strong>e but notethat they did not <strong>in</strong>terrupt their efforts at the po<strong>in</strong>t the headl<strong>in</strong>e came on the screenbut rather at a po<strong>in</strong>t at which the first spoken sentence ends. <strong>The</strong> two make a <strong>second</strong>pause at the end <strong>of</strong> the <strong>in</strong>troductory section (Frame A20) which is the same po<strong>in</strong>t atwhich Brenda and Denise also made a pause. A dramatic shift <strong>in</strong> scene, <strong>in</strong> this casefrom the studio to the roadside view <strong>of</strong> the field, appears to be a common po<strong>in</strong>t <strong>of</strong>segmentation. From there, however, it appears that both the <strong>in</strong>ter<strong>media</strong>te andadvanced listeners paused at po<strong>in</strong>ts where they felt there was a drop <strong>in</strong> <strong>in</strong>tonation orwhen they understood structural cues <strong>in</strong> the spoken Japanese which signal that asentence is likely to be end<strong>in</strong>g. Once more, Denise displayed opportunisticbehaviour and paused whenever she discovered any element <strong>of</strong> the <strong>video</strong>text thatcould contribute to her tentative understand<strong>in</strong>g.Brenda displayed a somewhat different pattern <strong>of</strong> <strong>in</strong>teractions with Videotext Threethen she had previously. This time, she made the relatively few stops. Her behaviourcan likely be attributed to fatigue she felt dur<strong>in</strong>g the verbal report sessions.Throughout, she frequently mentioned be<strong>in</strong>g tired and frustrated with the exercise.Despite prompt<strong>in</strong>g at the end, Brenda provided few comments about Videotext Threeand stopped mak<strong>in</strong>g any further effort to comprehend it soon after she completed an<strong>in</strong>itial view<strong>in</strong>g.As a general patten, the location <strong>of</strong> <strong>video</strong>text segmentation occurs at the end <strong>of</strong>spoken sentences. Drops <strong>in</strong> <strong>in</strong>tonation or other structural cues <strong>in</strong> the aural narrativeappear to be more powerful determ<strong>in</strong>ants <strong>of</strong> pause rates than do the edit po<strong>in</strong>tsfound <strong>in</strong> the visual narrative structure. <strong>The</strong> <strong>in</strong>ter<strong>media</strong>te listeners, <strong>in</strong> particular,paused at po<strong>in</strong>ts <strong>in</strong> accordance with the aural narrative. <strong>The</strong> advanced listener, lessreliant on the <strong>digital</strong> medium, paused <strong>in</strong>frequently at the completion <strong>of</strong> sentences.<strong>The</strong> beg<strong>in</strong>n<strong>in</strong>g listener sought to take advantage <strong>of</strong> every element.113

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