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

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elements in the listening comprehension process of second language learners.Partially, as argues, one reason for this neglect lies in the fact thatThere is not, of course, one single ‘true’ construct of listening comprehension. Ingeneral, however, listening comprehension has traditionally been defined solely interms of an ability to decode aural elements (Kellerman, 1992). Critique of suchdefinitions has increasingly come under attack in recent years for their failure toacknowledge the true complexity of listening comprehension (Pillar, 1997). Inrecognition of video-based listening , the prominent listening theorist Rubin (1995a)defined the skill as “an active process in which listeners select and interpretinformation which comes from auditory and visual cues in order to define what isgoing on and what the speakers are trying to express” (p. 7). It is important to notein this definition that visual elements are assigned no specific role: in essence, theyare seen to be complimentary factors that work in conjuction alongside auralelements to influence the active process of listening comprehension. Nonetheless, itis a widely held belief amongst second language researchers that visual elementssimply provide a means of ‘support’ to listeners as they decode the aural channel.Rubin (1995b), for example, proposes that visual elements offers assistance tolisteners primarily through the display of props, action and interaction. According toRubin, listeners utilise these supports to 1) narrow interpretations when they observephysical settings, 2) validate tentative hypotheses when they make sense of actionand 3) judge emotional states when they see interaction. Beyond Rubin’sobservations, however, there is surprisingly little theoretical justification or empiricalevidence that would support the belief that listeners utilise visual elements mainly for‘support’ of the aural channel. Indeed, to date, almost no research has beenconducted which closely investigates the role of visual elements within thecomprehension process of second language listeners as they attend to videotext.3
Aim and scope of the studyAgainst a recognition that research in listening is still in its infancy (Rubin, 1994),the aim of this study is to investigate the role of visual elements when digital videomedia is used as a mode of presentation in second language listeningcomprehension. To achieve this aim, the investigation must first be constrained inorder to maintain its specific focus.Because research into listening processes can be seen as investigating the“consummate multivariate topic” (McDevitt, Sheehan, Cooney, Smith & Walker,1994, p. 232), the first limitation of the investigation must concern the type oflistening to be investigated. Because this investigation examines listeningcomprehension that takes place while attending to video-mediated presentations, onlytransactional (non-participatory) listening processes will be considered. Asexamined further in Chapter Two, the sole focus of this research is to investigatelistening comprehension which is characterised by video-mediated responses toinput. These responses, therefore, are not influenced by variations in the rate ofdelivery, content or a host of other variables otherwise associated with dialogic ormulti-party transactional listening situations (Dunkel, 1991; Rost, 1990).A second concern of the study is to delimit the phrase ‘video media’. Dynamicvisual media are available in a wide variety of formats that include film, televisionbroadcasts, analogue videotape, and digital videodiscs. As a general definition, videomedia are conceived primarily through their abilities to combine dynamic visual andaudio elements in close temporal sequence (Wetzel, Radtke & Stern, 1994, p. 40).Initially, the term ‘video media’ is employed in Chapter Two as an umbrella phraseto allow discussion of second language studies of listening based on analogueformats of video media. As the discussion develops, the focus turns specifically tolinear digital video media that can be characterised by non-sequential access,instantaneous replay, individual control and precise segmentation. Fortunately,4
Page 1: The role of digital video media in
Page 4 and 5: esponses to task demands. Listeners
Page 6 and 7: AcknowledgmentsI wish to thank my t
Page 8 and 9: Observation of classes.............
Page 10 and 11: Videotext selection................
Page 12 and 13: Table 4-24 Refine interpretation of
Page 14 and 15: Chapter One: IntroductionThis thesi
Page 18 and 19: computer-based displays of video me
Page 20 and 21: ecommendations based on experience
Page 22 and 23: the area of second language listeni
Page 24 and 25: (Gruba, 1997), concerns are raised
Page 26 and 27: themselves and the rules for combin
Page 28 and 29: 183), examination of techniques use
Page 30 and 31: the visual elements in an effort to
Page 32 and 33: ecause naturalist productions lack
Page 34 and 35: pathway to the lobe at least six in
Page 36 and 37: Anderson (1995, pp. 161-168) discus
Page 38 and 39: scratchpad is thought to disappear
Page 40 and 41: Table 2-1Collaboration and competit
Page 42 and 43: Although the central visual stimulu
Page 44 and 45: video to show a cultural context, i
Page 46 and 47: (p.27) consisting of a seven-item,
Page 48 and 49: In a longitudinal study, Herron, Mo
Page 50 and 51: according to the presence or absenc
Page 52 and 53: Schmidt-Rinehart(1992)written recal
Page 54 and 55: asis of the audio track, the visual
Page 56 and 57: introspection’ occurs when partic
Page 58 and 59: Second language listening researche
Page 60 and 61: explanation of the context of the i
Page 62 and 63: Table 2-4Conceptual framework of li
Page 64 and 65: e limited in its applicability. Lav
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temporarily stored in buffer system
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is a need to maintain such a distin
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Critics of their learning styles fr
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with reading (Kozma, 1991). Explora
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Revisions in cognitive theory, howe
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elationship of visual to verbal ele
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framework of first language reading
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Approximately one-third of total cl
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students were always told to attemp
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asis” (Kevin, text unit 2). He ex
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After making a preliminary selectio
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Establishing shots usually occur at
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help clarify potentially ambiguous
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The notes, some torn by the process
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6 Rubbishprocessing #5Reporter (VO)
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Table 3-6Videotext One: Summary of
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Figure 3-2Visual narrative structur
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In Graddol’s (1994) terms, this s
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The remainder of the clip, as shown
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Table 3-10Videotext Three: Summary
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a caption that lists the name of th
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In Shot 10 of Table 3-13, an expert
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instructors have a deep familiarity
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comprehension research, item constr
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the resulting analysis can nonethel
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information needed to complete the
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• How much of this segment do you
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Table 4-1Summary of participant com
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study. The enthusiastic reaction by
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spoken sentence is completed (Frame
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Recall that Videotext Three was con
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The process of data analysis was cy
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The third stage of the analytical p
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Clearly, Alison’s ability to deco
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Table 4-9Generate macrostructure; c
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first hypothesis, and in the proces
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Table 4-12 shows that participants
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Initiate macrostructureListeners ma
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Table 4-16Reactions to inability or
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In fact I think I would’ve picked
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evolve around these rocks” (text
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Table 4-19Embedded text as a basis
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Constrain interpretationThe presenc
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number of possibilities of sources
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Table 4-25Refine interpretation; ba
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general mistrust of images, a diffi
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Table 4-27Unclear link among images
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Table 4-28Small detail as distracti
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Finally, the absence of an expected
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For Catherine, images are closely a
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narrative as she went about making
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Chapter Five: Front-to-back initial
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A summary of the background survey
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each of the participants’ comment
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Examination of the post-sessional c
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Front-to-back initial comprehension
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Table 5-4Examples of text type iden
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Initiate macrostructureListeners ma
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It really backs up, it gives me a f
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signals her concerns about the mean
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Before continuing, a summary of the
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used to mimic the path of a runaway
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As predictions made at the end of t
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Akin to Denise in the pilot study,
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Within the establishing shot (G16)
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not resolve the challenge; rather,
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Table 5-9Example opportunistic beha
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in context and were forced to recon
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around the right front tyre of the
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“And now I can figure out why the
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Analysis found that written text wa
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Constrain, or refine, interpretatio
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interpretations that may exist in t
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Table 5-12Incidents of hindered mac
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this headline, however, it is repor
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to read and listen at the same time
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To sum up, analysis of the verbal r
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A study regarding the perception of
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Table 5-14Summary of the role of vi
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study, Alison had thought the camer
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classroom assessment were followed
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Table 6-1Intended task purposes(aft
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Table 6-3Total scores and overall r
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familiarity with procedures. For th
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eview allows her to prepare for upc
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No immediate usageA listener may re
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Other listeners, such as Peter, als
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listener has a strong sense of wher
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videotext, may also indicate those
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Table 6-6Responses to Videotext One
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not for their information potential
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of money. Although she may have use
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dramatically. Although she remains
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visual elements as signposts and ma
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she has made no comments during thi
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picture that helped me” (text uni
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simply copies down a phrase: “The
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NHK: G4-G8 ‘—getobaru no jo ni
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track and recursing over essential
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answers that the police will contin
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particular task. The most striking
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Because Helen expects the off-camer
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efocus, she reads the entire task s
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overall visual narrative structure
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Perhaps because he did not develop
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about” but admits “I can only p
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scores were ranked into a three-tie
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task demands.A third style of searc
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Chapter Seven: Summary and implicat
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framework concerning initial front-
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The second purpose of the main stud
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listeners begin searching for task-
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A decade ago, Armes (1988) made the
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investigation and a set of criteria
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Participant selection and trainingT
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During the verbal reports, particip
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present study, the decision to prin
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ReferencesAllan, M. (1985). Teachin
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In D. Graddol & O. Boyd-Barrett (Ed
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Educational Technology Research and
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as data. Cambridge, MA: MIT Press.E
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a written passage in the FLES class
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teaching. London: Oxford University
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Educational Technology Publications
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Rost, M. (1990). Listening in langu
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Language Teacher, 17, 19-24.Thompso
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Wetzel, C. D., Radtke, P. H., & Ste
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April, 1996Dear Japanese students,W
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8. K: Well there are lots of differ
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mid-semester test had a lot ofinfor
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commented well it seems to meanyway
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Semi-structured interview #2Novembe
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ten minute section each lesson. But
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63. R: Yeah it is.64. D: Yeah I thi
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22. S: Ever since I've been teachin
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its week by week they are quite hap
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industry even in a minor way they k
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46. F: Normally I show a lot first
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91. R: (laughs) This statement"Auth
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information that would be good if w
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16. K: Well if they — for example
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which means ‘no’ or ‘mu’ in
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Image: M4 Japanese: 4-6 seconds Eng
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Image: M12 Japanese: 12-14 seconds
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Appendix D: Videotext Two
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Image: G4 Japanese: 4-6 seconds Eng
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Image: G12 Japanese: 12-14 seconds
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Image: G82.26 (end) Japanese: 82.26
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Image: A4 Japanese: 4-6 seconds Eng
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Image: A12 Japanese: 12-14 seconds
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Image: A20 seconds Japanese: 20-22
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Image: A 28 Japanese: 28-30 seconds
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Image: A100 Japanese: 100-102 secon
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Alison (pseudonym) studied Japanese
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31. R: Okay, these questions again.
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expressions of specific vocabulary
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92. A: Yep.93. R: Okay.94. A: I can
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117. A: Yep, and it’s NHK. And th
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147. R: So how did that affect you?
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with an animal or something that ca
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*NHK: G40 - G42 ‘E, naku natta In
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one probably a ‘survey’ if its
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274. R: Okay, anything else you wou
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tell he’s saying in this in the
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Saimei Tenno ga kyuden no higashi n
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Brenda (psudeonym) is not a student
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... perhaps — if I hadn’t had c
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actually visually what happens like
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the first part of the sentence well
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English so I can’t say and judgin
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perhaps I don’t know. So obviousl
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ut at least that is there to help a
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180. B: Well the general main topic
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208. B: Mmm ... ahh ... you see I t
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point?231. B: Uhm ... ... well it
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shimashita. E, kono hoka otoshi yor
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yeah.275. R: Can you tell me in Eng
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301. R: So what’s going through y
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327. R: Is there anything else you
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‘Catherine’ is a former instruc
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awhile things like ‘guys who coll
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understood what he was saying anywa
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We were just playing gateball happi
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object but the word that he said th
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e starting to wander. My mind would
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ga arimasu. Sore kara dokan to itte
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tsukutta to shirusarete iru e rikyu
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BEGIN SIDE TWOR: Okay.*NHK: A24 - A
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C: Okay ... uhm, now I’ve got a b
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imasu. Osoraku Futatsuki no miya
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C: That little bit towards the end.
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So what I’m going to do now is ru
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D: There you go. ‘San ji han’ (
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any connotations to me because the
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ut I haven’t heard the words arou
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R: Yeah, as you wish. We can stop i
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have been able to understand it. Th
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R: Okay. Anything else you would li
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D: No, I just want to find out what
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gateball’ —R: Could you tell me
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D: ’Mite’ — ‘to see‘ some
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no jukeisho o oimashita.’D: ‘As
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D: ‘Nara ken’ it’s in Nara ye
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it’s being ... I don’t know why
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description and they are either cor
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287. D: We understand something now
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Background questionnaireYear of stu
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Comprehension questions, Video #2 w
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Post-sessional questionnaire: Study
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was said by the announcer and I jus
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lot of cash that has been found in
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collection processes in the city an
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108. A: They’re going on about ga
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consistent with the picture of the
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167. A: Nothing. Ah, he’s looking
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195. R: Any predictions — or wait
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what it is they’ve discovered but
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252. A: Uhm, by picking up the word
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something to focus on. You know I t
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(laughs) That, no you certainly did
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28. R: Okay, and why?29. S: Because
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70. S: The main topic? Well, just b
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115. S: And something or other else
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152. R: So what’s happening with
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185. R: So what happened exactly, t
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227.S: Yeah, well, with the kanji I
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meters away from something or other
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originally built the site?’ Some
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people couldn’t understand it. So
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a tape the first time I wouldn’t
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going to show me the clips of where
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61. C: I can’t understand at all.
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shiteimu doro desu. Keisatsu dewake
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text of what is being said in front
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38. R: And what will you do now?39.
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ni yuruyaka ni migi ni kabu shiteim
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206 R: Can you describe any other s
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