0229836_9011C_jack_koumi_designing_educational_video_and_multimedia_for_op-1
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I n d e x
Note: Page numbers followed by Fig, or Table refer to Figures or Tables in the text, e.g. added-value categories 3–6, 71 Table 4.2
abstract concepts 4 Table 0.1; authentication of 51–2; real-world examples of 21–2 Fig. 1.19
abstract processes, visual metaphors for 4 Table 0.1, 16–20
academic: abstractions, authentication of Table 0.1 51–2; cogency 174
access 68, 69, 81, 87; flexibility of 73–5 activity see interaction; interactivity actual (not virtual) reality 27
adaptivity 68, 69, 82, 87
added-value video categories 3–6 Table 0.1, 71 Table 4.2
affective influences see nurturing domain allocation of media treatments 87–91 ambiguity 164–5
analogy 4 Table 0.1, 16–20 Anderson, L.W., and Krathwohl, D.R.
(eds), Blooms Taxonomy (revised) 72, 221–2 Table A2.1
angle (slant), different 167–8 animated diagrams (animation) 4 Table
0.1, 10–16, 125–6
appetizing 101 Table 5.3, 139 Table 6.3, 142
appreciations, change of 48 Fig. 3.1, 50–1
apprenticeship theory 129 archive film 42
assumed external knowledge, indication of 102 Table 5.3, 140 Table 6.3, 158, 175, 212
asynchronous conferencing 85–6
attitude change 4 Table 01, 48 Fig. 3.1, 50–1
attributes, of media: distinctive 69–89; presentational 81–6
audibility: on video 101 Table 5.3, 165–6 audience see target audience
audio (recorded) media 63, 65–6 Table 4.1, 70, 79–81 Table 4.3; effectiveness of
5
audio-bar 203–4
audio file 201, 202, 203, 204, 211 audio-visual: compared to print 59,
65–7 Table 4.1; pedagogic attributes of 69–81
audiographic conferencing 84 audiovision 181–93; distinctive attributes
of 78–9, 80 Table 4.3; OU’s use of 29, 38, 67, 181
aural analogies 19 Fig. 1.17 authenticity, of academic abstractions 4
Table 0.1, 51–2
backtracking 152 Baddeley, A.D. 187, 206 Baggeley, J. 98
Bates, A.W. 3, 58, 67, 96, 98, 173; and Poole, G. 63, 72
BBC Open University productions 58, 72, 99, see also Open University
Beccue, B. et al. 195, 204
bias, avoidance of 131–2 Table 5.15 blinkering 101 Table 5.3, 139 Table 6.3
149, 205–6
block editing 184, 202
Bloom’s Taxonomy (Anderson and Krathwohl, eds) 72 Fig. 4.1, 221–2
Table A2.1
British Council 99
230 Index
broadcast media 60, 63, 65–6 Table 4.1, 67; programme notes 134–5 Table 6.1, 138, 175; radio 79–81 Table 4.3; TV 70–2, 75, 173–4
Brown, J.S. et al. 84 Bruner, J.S. 106, 108 buffer shot 157 Bullen, M. 85
bulletin boards, electronic 85 Burt, G. 61
camera work 155–7 Cash, J.R. et al. 129 CD-ROMS 70, 83, 203 Cennamo, K.S. 107
chapter ending 102 Table 5.3, 128, 149, 172, 176, 177, 178
chapter heading 96, 101 Table 5.3, 128, 129, 144, 154, 177, 178
chat rooms 85
chroma key + presenter 8, 9 Fig. 1.3 chronological sequence 4 Table 0.1, 8 Fig.
1.1, 42
clarity 101 Table 5.3, 134, 162, 164–6, 192, 214
Clark, R.E. 5, 57, 60, 61
CMC (computer mediated conferencing) 84–6, 87
co-construction of knowledge 85, 86 Fig. 4.3, 107, 151–2
cognitive apprenticeship theory 129 Cognitive Flexibility Theory 148, 168 cognitive processes: benefits of CMC
collaboration 85–6; taxonomy of 70, 72 Fig. 4.1, 73, 77, 78
cognitive theory of multimedia learning 216–20
coherence principle 216, 218–19 collaboration, computer-mediated 63, 82,
84–6, 87
colour 8, 15, 88, 155, 162, 164, 165, 192 commentary, audio: intellectual depth of
162; and on-screen text 196–8, 206–9; pauses in 150, 159–60, 177, 178, 190, 211; and printed text 165, 186–8; and visuals 147, 195–8, 210–11, 213, see also narrative structure; picture–word synergy; words (spoken)
comparison: or counter-examples 102 Table 5.3, 114, 169; of media efficacy 57–62; of media merits 64–9 Table 4.1; of research studies 59–60, 98
complementary learning 97 Table 5.1, 100
Table 5.2, 102 Table 5.3, 116 Table
5.9, 124, 134, 135 Table 6.1, 175; audiovision 182; multimedia packages 200; print-led video packages 135–8
composite picture techniques 4 Table 0.1, 6, 7–10 Figs 1.1–1.3, 161
computer mediated conferencing (CMC) 84–6, 87
computer packages 63–4, 68, 82–4, 87, 124
computer-generated graphics 10, 182 computer-mediated collaboration 63, 82,
84–6, 87
concepts, simplified 162–4 Figs 6.3–6.4 conclusion see consolidation concretization 100 Table 5.2, 101 Table
5.3, 106, 133, 139 Table 6.3, 148, 151, 192, 213
condensing time 4 Table 0.1, 22–4 Fig. 1.22
conferencing, computer-mediated (CMC) 84–6, 87
confidence-building 4 Table 0.1, 51, 71 Table 4.2, 100 Table 5.2, 101 Table 5.3, 157–8, 212
consistent style: on video 101 Table 5.3, 137, 155
consolidation 27, 71, 97 Table 5.1, 98–9, 102 Table 5.3, 108, 111, 128, 146, 172–4, 193, 214
construction of knowledge see knowledge: individual construction
constructivist learning theories 104–7, 129, 148
contents page 203
context see learning context
contextual signpost 96, 101 Table 5.3, 144 contrasting situations 25–7 Fig. 1.25; use
of counter-examples 102 Table 5.3, 169 controllability 68, 69, 82, 87, 203–4 conversational speech 158, 165, 183, 186,
201, 205, see also words counter-examples 169
course development: media selection for 88–91 Table 4.4, 130, see also learning and skills development
craft skills 24 Fig. 1.22, 30 Cresswell, K.W., and Lin, C.A. 98 Crooks, B., and Kirkwood, A. 74–5 cut-aways 23–4 Fig. 1.21, 157
cuts 22–3, 155–7
Index 231
Daniels, J., and Koumi, J. 83, 182 De Koning, K. et al. 84
DeLuca, S. 99
delight 46, 101 Table 5.3, 114, 138, 141, 169
demonstration of skills 4 Table 0.1, 24 Fig. 1.22, 27 Fig. 1.25, 28–33 Table 1.1, 29 Fig. 1.27, 31 Fig. 1.30, 38 Fig. 2.5
denouement: on video 102 Table 5.3, 169–70
density, picture–word 101 Table 5.3, 134, 161–2, 186, 209
deployment scheme, proposed 62–4 depth, intellectual 101 Table 5.3, 134,
162–4
design principles: recommendations for future research 215–20, see also screenwriting framework; screenwriting principles,
dialogic teaching 85–6 Fig. 4.3 Dick, W., and Reiser, R.A. 109
disclosure: of learning objectives 109, 118–23 Table 5.10, 215; of the context 149
dissolving 8, 24 Fig. 1.22
distant signpost 101 Table 5.3, 143, 149 ‘distinctive value video list’ 3 documentary TV 173–4
Dominance and Subordinacy (OU TV programme) 111–13 Tables 5.4–5.5, 114–29 Tables 5.8–5.12; dramatic climax of 169–70; programme notes for 134–5 Table 6.1
double-frame animation 14 Fig. 1.9 drafts (outlines) 130, 132, 183, 193, 201,
215
drama, and real-life interaction 28 Fig. 1.26, 31 Fig. 1.30, 41–2
dramatic climax: on video 102 Table 5.3, 169–70
dramatized enactment 22 Fig. 1.20, 24 Fig. 1.22, 41 Fig. 2.7, 43–5
Driscoll, M.P. 104, 148, 166, 168, 175, 212 duration, of process/activity 4 Table 0.1,
34 Fig. 2.1, 39, 42
dynamic change 4 Table 0.1, 34–5 Figs 2.1–2.3
editing: block editing 184, 202; loose and tight 114 Table 5.7, 127, 159–60 Table 6.4
EDTV Course (Open University) 99, 103, 113, 133
educational rationale 101 Table 5.3, 139 Table 6.3, 144
Educational Technology Research and Development 5, 6
educational TV 173–4 effective design 61–2, 103, 131
Eisenstadt, M., and Vincent, T. 89 electronic bulletin boards 85 elucidation 101 Table 5.3, 112, 159–66,
192, 214
empathy, engender 4 Table 0.1, 31 Fig. 1.30, 48 Fig. 3.1, 50–1
enrichment roles, for media 60 entertainment (humour) 14, 16 Fig. 1.11,
40, 46–7, 60, 101 Table 5.3, 141–2, 193 equipment, technical 4 Table 0.1, 37–8 equipotentiality 57, 59, 62
ethics, of course development 90–1 Eustace, G. 99
experiential domain: added-value video techniques 4 Table 0.1, 71 Table 4.2; chronological sequence 8 Fig. 1.1, 42; dynamic change 34–5 Figs
2.1–2.3; inaccessible places 36 Fig. 2.4; inaccessible viewpoints 24 Fig. 1.22, 36–7 Figs 2.4, 2.5; rare/one-off events 42; real-life interaction 28 Fig. 1.26, 31 Fig. 1.30, 41–2; resource material for viewer analysis 26 Fig. 1.26, 32 Fig. 1.31, 43, 71 Table 4.2, 75; showing technical processes 29 Fig. 1.27, 37–8; showing three dimensional objects 34 Fig. 2.1, 35 Fig. 2.2, 38–9 Fig. 2.6; slow/fast motion 39–40; staged events 22 Fig. 1.20, 24 Fig. 1.22, 41 Fig. 2.7, 43–5
experimental studies for multimedia 195–8 215–20
exposition, structured/effective 105–7, 108–11, 191, 212
face-to-face teaching 58–9, 87–8 facilitation, of attentive viewing 101 Table
5.3, 145–7, 191, 213 false preconceptions 131
fascination 95, 100 Table 5.2, 101 Table 5.3, 114, 116 Table 5.9, 117–18, 141, 174
fashion fatigue 50
fast motion 4 Table 0.1, 40, 41 Fig. 2.7b feedback: from colleagues 183; students
receiving 64, 82, 83, 86, 88, 113, 136, 191, 200, 211, 214
232 Index
feeling, nurturing categories 50–2 fillers 67
fleshing out 7
focus signpost 96, 101 Table 5.3, 144 foreshortening techniques 22–4 Fig. 1.22 format variation 101 Table 5.3, 140 Table
6.3, 166–7
frames: for audiovision 182, 186, 187 Fig. 7.1, 188, 189, 190, 191; single/doubleframe animation 14, see also screens
framework for screenwriting see screenwriting framework
galvanization 4 Table 0.1, 48
Garrison, J.W., and Macmillan, C.J.B. 108, 109
generalization 101 Table 5.3, 128, 172 geography: on video 101 Table 5.3, 149 Gibson, S. 102 Table 5.3(note), 107, 111,
191, 213
grammar of video 101 Table 5.3, 155–7 gravity variation 101 Table 5.3, 140 Table
6.3, 167 Greenfield, P.M. 96
Gudmundsdottir, S. 110, 191, 213 guidance: navigational, for multimedia
packages 203–4; study guidance (video) 72, 76, 135 Table 6.1, 136, 138, 147, 173, 176 Fig. 6.5, 211 Fig. A1.1
guidelines, for multimedia design 203–15; micro-level, compared to research 215–20
guides see study-guides
Hawkridge, D. 83, 87 Hede, A. 206
Henri, F., and Rigault, C. 85
highlighting 149, 164, 165, 203, 207, 210, 221 Fig. A1.1
Hoijer, B. 105
hook 97 Table 5.1, 101 Table 5.3, 108, 114, 130–1 Table 5.15, 138–43, 178, 191, 213
human mediation 63, 77–8, 87–8 humour 40, 46–7, 141–2
Hung, P., and Koumi, J. 58, 72
inaccessible places 4 Table 0.1, 36 Fig. 2.4 inaccessible viewpoints 4 Table 0.1, 24
Fig. 1.22, 30, 36–7 Figs 2.4, 2.5 Inhoff, A.W. et al. 187, 206 instructional method 5
Instructional Systems Design (ISD) 110
integration/integrator 102 Table 5.3, 140 Table 6.3, 172, 175
intellectual depth 101 Table 5.3, 134, 162–4
intelligent tutoring systems 83–4 intentionality 108, 109
interaction, real-life 4 Table 0.1, 28 Fig. 1.26, 31 Fig. 1.30, 41–2
interactivity 68, 69, 82, 83, 87, 190–1, 211–12
internet, computer-mediated collaboration 63, 82, 84–6 Fig. 4.13, 87
introductions 101 Table 5.3, 129, 139 Table 6.3, 143
isolation, alleviation of 4 Table 0.1, 50 iterative refinement of learning objectives
110, 117, 118
ITS (intelligent tutoring systems) 83–4
jingles 189
jump cuts 22–3, 156
juxtaposition of contrasts 4 Table 0.1, 25–7 Figs 1.23–1.25
Kalyuga, S. 196, 204, 206 Keller, J.M. 109, 166
key words 187–8, 207, 209 Kirkwood, A., and Crooks, B. 74–5 knowledge: activation of existing 101
Table 5.3, 106, 107, 129, 139 Table 6.3, 143, 144, 145, 146, 148, 151, 175, 192, 213; co-construction of 85, 86 Fig. 4.3, 107, 151–2; individual construction of 97 Table 5.1, 101 Table 5.3, 107, 139 Table 6.3, 147–52, 192, 213; of target audience 133–4, 182–3
Koumi, J. 59, 67, 98, 100, 197; and Daniels, J. 83, 182; and Hung, P. 58, 72
Kozma, R.B. 6, 60, 98
Krathwohl, D.R. see Anderson, L.W.
language, use of 185–6, 204–5 lateral thinking 49–50, 52, 84
Laurillard, D. 45, 89, 98, 111, 173, 194, 199, 211, 213, 214, 215
learning behaviour, diagnosis of 84 learning context 96, 100 Table 5.2, 115,
116 Table 5.9, 124, 182
learning objectives, iterative refinement of 110, 117, 118; progressive disclosure of 109, 118–23 Tables 5.9, 5.10
learning outcomes, cognitive 72 Fig. 4.1, 222–3 Table A2.1; for audiovision
Index 233
production 182; for CMC collaboration 85–6; for interactive multimedia 83; and learning objectives 110, 174; for multimedia packages 200; for non-stop video 70, 72 Fig. 4.1; for print–video packages 76–8; and teaching intentions 108–9, 115, 116 Table 5.9, 117–18
learning and skills development, video techniques for 4 Table 0.1, 71 Table 4.2; abstract concepts 21–2 Fig.
1.19; animated diagrams 10–16; composite picture techniques 7–10 Figs 1.1–1.3; condensing time 22–4 Fig. 1.22; juxtaposition of contrasts 25–7 Figs 1.23–1.25; modelling with simplified versions 15 Fig. 1.10, 20; narrative strength 27–8 Fig. 1.26; skills demonstration 24 Fig. 1.22, 27 Fig. 1.25, 28–33 Table 1.1, 29 Fig. 1.27, 31 Fig. 1.30, 38 Fig. 2.5; visual metaphor 16–20
learning styles 41 Fig. 2.7a, 45, 60, 81 learning tasks, media deployment for
62–9, 80–1 Table 4.3; audiovision 182; length of 219; multimedia 200; print 72–3; video 70, 72 Fig. 4.1, 130
learning theories 104–11; practical application of 129, 148, 192, 213
legibility: on video 101 Table 5.3, 165–6 lighting 39
Lin, C.A., and Cresswell, K.W. 98 line of action 156, 157 Fig. 6.2 linear video see video
links 27, 102 Table 5.3, 175, 178, 193 literature: on screenwriting 96–9; on
visuals and audio commentary 195–8 live shots, and animation 12–13 Fig. 1.8 load 134, 161
location of scene 149
logical status 101 Table 5.3, 139 Table 6.3, 159
long-form narrative (self-standing) video 70, 73, 76, 109, 136–8
long-term affective influences 47
loose editing 114 Table 5.7, 159–60 Table 6.4
McCormick, R., and Paechter, C. 104 McLoughlin, C. 107, 151, 192, 214 Macmillan, C.J.B., and Garrison, J.W. 108,
109
macro-level studies 194, 215 manual skills 29–30 Figs 1.27, 1.28
Mayer, R.E., and Moreno, R. 196, 216–19 media: capabilities/limitations of 6, 45,
46, 186, 195–8, 209; comparative efficacy of 57–62; comparative merits of 64–9 Table 4.1; deployment scheme for 62–4; distinctive attributes of each medium 69–81; function and task allocation 87–91 Table 4.4; integration with print 134–5 Table 6.1
media characteristics 64, 68–9, 81–6 media selection 88–91 Table 4.4, 130 media-robust topics, in comparison studies
59–60
Merrill, M.D. 106, 107, 110, 148, 151, 175, 192, 213, 214
mesmerizing 101 Table 5.3, 137 Table 6.2, 146–7, 173
metaphors, visual 4 Table 0.1, 16–20, 101 Table 5.3, 150–1
micro-level guidelines 203–15
mixing (dissolving) 8, 23, 24 Fig. 1.22 modality effect 216
modelling, with simplified versions 4 Table 0.1, 15 Fig. 1.10, 20
monotony, avoid 167
Moreno, R., and Mayer, R.E. 196, 216–17, 219
morphing 10
motivate use of strategy 4 Table 0.1, 49–50 Fig. 3.2
motivations, nurturing categories 4 Table 0.1, 47–50
movement 4 Table 0.1, 34–5 Figs 2.1–2.3, 39–40
multimedia: ITS 84; meaning of 3 multimedia packages 63–4, 68, 82–4,
87, 102 Table 5.3 notes, 124, see also screenwriting principles, for multimedia
Murray, T. 83
music 101 Table 5.3, 139 Table 6.3, 154, 219
narrative structure 110–11; for audiovision 191–3; of Dominance and Subordinacy
118–23 Table 5.10; for multimedia 213–15; narrative archetypes 175–6 Fig. 6.5, 221 Fig. A1.1; narrative strength 4 Table 0.1, 27–8 Fig. 1.26; reclassification of principles 175–6 Fig. 6.5, 221 Fig. A1.1; words precede/ follow pictures 170–1 Table 6.5, 210–11, see also commentary; picture– word synergy