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

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help clarify potentially ambiguous sections <strong>of</strong> spoken Japanese (Kev<strong>in</strong>, text unit 44).<strong>The</strong> presence <strong>of</strong> embedded text is much less frequent than either the display <strong>of</strong>headl<strong>in</strong>es or captions. Mostly, this type <strong>of</strong> written text can be seen <strong>in</strong> establish<strong>in</strong>gshots that focus on advertis<strong>in</strong>g billboards, traffic signs or other pr<strong>in</strong>ted material thatare commonplace <strong>in</strong> the modern urban landscape (Biocca, 1991). Embedded textsalso appears <strong>in</strong> extreme close-up shots that are used to show the viewer details <strong>of</strong>pr<strong>in</strong>ted materials such as letters, notes or newspapers (Arijon, 1976).<strong>The</strong> display <strong>of</strong> written text <strong>in</strong> any form, <strong>of</strong> course, <strong>in</strong>fluences listen<strong>in</strong>gcomprehension (Rub<strong>in</strong>, 1995b). Ideally, its presence serves t<strong>of</strong>acilitatecomprehension by provid<strong>in</strong>g an ‘advanced organiser’ for the narrative at hand(Hanley, Herron & Cole, 1995). Potentially, however, written text may also act asbarrier to comprehension to those <strong>in</strong>dividuals who are unable to decode its mean<strong>in</strong>gas <strong>in</strong> the case when complex or unfamiliar kanji characters and phrases appear(Jorden, 1992).<strong>The</strong> process <strong>of</strong> <strong>video</strong>text analysisBased on <strong>media</strong> research techniques (Fields, 1988; Graddol, 1994; Grimes, 1990),analysis <strong>of</strong> the news broadcasts was conducted <strong>in</strong> three stages.<strong>The</strong> first stage <strong>of</strong> the analytical process <strong>in</strong>volved creat<strong>in</strong>g a diagram <strong>of</strong> the visualnarrative structure for each <strong>video</strong>text. Follow<strong>in</strong>g Graddol (1994), each node <strong>in</strong> thesetree-like figures was made to represent a dist<strong>in</strong>ct shot. Each <strong>of</strong> these shots were thenclustered by scenes and result <strong>in</strong> an overall view <strong>of</strong> the structure <strong>of</strong> visual elements <strong>in</strong>the news broadcasts.<strong>The</strong> <strong>second</strong> stage <strong>of</strong> analysis began with the construction <strong>of</strong> a table that listed thescene number, a brief description, a ‘frame grab’ <strong>of</strong> the shot which appeared at thebeg<strong>in</strong>n<strong>in</strong>g <strong>of</strong> each scene, and the duration <strong>of</strong> the scene. Shot types were identified on77

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