0229836_9011C_jack_koumi_designing_educational_video_and_multimedia_for_op-1

narrative video see self-standing video narrators (speakers) 48, 188–9, 202, 207,

209–10

navigational guidance, for multimedia packages 203–4

networking 68, 69, 84–7 noddies 22–3

non-linear presentation 101 Table 5.3, 140 Table 6.3, 166–7

non-stop (self-standing) video 70, 73, 76, 109, 136

Notepad 211, 214, 215

notes, programme see study-guides nurturing domain of 5; added-value

video techniques 4 Table 0.1, 5, 71 Table 4.2; authentication of academic abstractions 51–2; changing attitudes 48 Fig. 3.1, 50–1; galvanization 48; isolation alleviation 50; long-term affective influences 47; motivation for strategy use 49–50 Fig. 3.2; reassurance and self-confidence 51,

101 Table 5.3, 157–8, 212; stimulation of learning appetite 47–8, 48 Fig. 3.1; transitory affective influences

46–7

objectives, learning 109–10, 117–18, 118–23 Tables 5.9–5.10

objectivity 131–2 Ohlsson, S. 83, 89

on-screen text: and audio commentary 195–8, 206–9; clarity of 165–6; effectiveness if 196–7

one-off events 4 Table 0.1, 42

online conferencing 85–6 Fig. 4.3, 87 Open University: approach to design 218,

219; BBC OU productions 58, 72, 99; Broadcast Allocations Committee 3;

Dominance and Subordinacy (BBC OU production) 111–13 Tables 5.4–5.5, 114–29 Tables 5.8–5.12; EDTV Course 99–100, 103, 113, 133; media deployment by 61, 67, 69–81; students as target audience 123–4; use of audiovision 29 Fig. 1.27, 38, 67, 181; use of multimedia packages 195, 198

optical barrier 156, 157 Fig. 6.2 OU see Open University

outlines (drafts) 132, 183, 193, 201, 215 overloading, avoid: on video 101 Table

5.3, 161

overviews 70–1, 73, 129

pacing 27, 134, 161–2, see also tempo Paechter, C., and McCormick, R. 104 Parer, M.S. 99

pauses 42, 101 Table 5.3, 112–14 Tables 5.5–5.7, 150, 159–61, 178, 190, 211

pedagogic criteria: for attributes of audiovisual media 69–81; for audiovision 181; for media deployment 62–9, 74–5; for media selection 88–91 Table 4.4

pedagogic guidelines, for multimedia design 203–15

pedagogic screenwriting principles see screenwriting principles

Pedagogical Content Knowledge (PCK) 110

pedagogy-oriented ITS 83–4

people, drama–life interaction 31 Fig. 1.30, 41–2

performance-oriented ITS 83 physical skills 24 Fig. 1.22, 30 picture–word synergy 102 Table 5.3,

124–32, 140 Table 6.3, 147, 150, 170–2; for audiovision 181–93; creation of 210–11, 217, see also narrative structure; screenwriting principles, for multimedia

pictures, still 36

Poole, G., and Bates, A.W. 63, 72 Pratt, D.D. 109

prediction, encouragement of 101 Table 5.3, 106, 139 Table 6.3, 146

presenter + chroma key 8, 9 Fig. 1.3 print: clarity of on-screen text 165–6;

compared to audio-visual 59, 63, 65–7 Table 4.1; distinctive attributes of 72–3, 80 Table 4.3; integration with other media 134–5 Table 6.1, 135–8

print–video packages 73–8, 175; application of design principles 136–40 Tables 6.2, 6.3; print-led 75, 135–8

processes see abstract processes; technical processes

production: of audiovision 182–4; preparation for multimedia 200–1; resources 58–9, 72, 77, 87

production quality, of video 52, 58, 173, 174

professional integrity 23, 130–2 Table 5.15

professional quality 52, 58, 173 programme notes see study-guides progressive disclosure 109, 118–23 Table

5.10, 215

provenance: of multimedia design framework 198; of screenwriting framework 96–103

questions, posing of 101 Table 5.3, 106, 139 Table 6.3, 145

radio (broadcast) 63, 65–6 Table 4.1, 79–81 Table 4.3

Radio and TV Production for Education see EDTV Course

rare events 42

rationale 4 Table 0.1, see contextual signpost

re-exemplification: on video 101 Table 5.3, 168–9

reactivity 64, 68, 82

real-world: and drama interaction 31 Fig. 1.30, 41–2; examples of abstract concepts 21–2 Fig. 1.19

reality, virtual and actual 27 reasoning skills 31

reassurance 4 Table 0.1, 51, 101 Table 5.3, 157–8, 212

recapitulation 101 Table 5.3, 128, 158, 172 recorded media see audio (recorded)

media; video (recorded) media recruitment, of students 65–6 Table 4.1 redundancy principle 218 reinforcement 101 Table 5.3, 167–72,

189–90, 193, 210–11, 214 Reiser, R.A., and Dick, W. 109

repetition: on video 101 Table 5.3, 167–8 research: comparison studies 57–60, 98,

173; for educational video production 174; recommendations for 215–20

research proposal 61–2

resource material: aural analogies 19 Fig. 1.17; for viewer analysis 4 Table 0.1, 26 Fig. 1.24, 32 Fig. 1.31, 43, 71 Table 4.2, 75; visuals 199

resources, for production 58–9, 72, 77, 87 restricted view 37

Rigault, C., and Henri, F. 85 Rowntree, D. 87, 89

Salomon, G. 98, 173

scaffolding 101 Table 5.3, 107, 139 Table 6.3, 151–2, 176 Fig. 6.5, 192, 211–12, 213–14

scene-setting 101 Table 5.3, 129, 139 Table 6.3, 143, 192

schematic animation 13

screen inserts 7–8 Fig. 1.1 screen text see on-screen text

screenplay, outline 132, 183, 193, 201, 215 screens: for multimedia packages 200–2,

205–6, see also frames screenwriter, professional integrity of

130–2 Table 5.15

screenwriting framework: applied to printled and video-led packages 135–40 Tables 6.2–6.3; and learning context 96, 100 Table 5.2, 116 Table 5.9, 124; and learning and teaching theories 104–11; provenance of 96–103

screenwriting principles, for multimedia: literature of 194–8; pedagogic guidelines 203–15; preparation for production 200–1; production 201–3; provenance of design framework 198; the visuals 199

screenwriting principles, for video 95–103 Table 5.3, 111–15, 124–32; consolidation 27, 98–9, 172–3; elucidation 112, 159–66; facilitation of attentive viewing 145–7; hook 131, 138–43; individual knowledge construction 147–52; links 27, 174–5, 177–8; narrative stratagem restructured 175–6 Fig. 6.5, 221 Fig. A1.1; reinforcement 167–72; sensitizing 152–8; signposts 27, 143–4, 162; story

texturing 27, 166–7; target audience 100 Table 5.2, 116 Table 5.9, 123–4; usage 100 Table 5.2, 115–23, 133–5; using Table 5.3 177–8

script conferences 198, 201 scriptwriting: for audiovision 183–93; for

multimedia 201, see also screenwriting

seductive-augmentation effect 219 seeds 27, 101 Table 5.3, 139 Table 6.3,

152–3

selection of media 88–91 Table 4.4, 130

self-confidence 4 Table 0.1, 51, 101 Table 5.3, 157–8, 212

self-standing (non-stop) video 70, 73, 76, 109, 136

sensitizing 101 Table 5.3, 152–8 sensory clarity 165–6 sentence-length 162, 185, 204–5 Sherry, L. 106

shock 97 Table 5.1, 101 Table. 5.3, 138, 139 Table 6.3, 143

signalling change: on video 101 Table 5.3, 154–5

signposts 27, 101 Table 5.3, 143–4, 162, 191, 213, 214

simplified versions: of concepts 162–4 Fig. 6.3; modelling with 15 Fig. 1.10, 20

simulation 26–7, 83 single-frame animation 14

skills categories 28 Table 1.1, see also demonstration

skipping/skip button 204, 206

slow motion 4 Table 0.1, 39–40, 204 social constructivism 104

social skills 27 Fig. 1.25, 31–2 socioaffectivity 85–6

software, for multimedia packages 200 space, for talking 156 Table 6.1 spatial contiguity 216, 217–18

speakers (narrators) 48, 188–9, 202, 207, 209–10

speech see commentary; narrative structure; words

Spencer, K. 57

Spiro, R.J. et al. 148, 168

split attention 196, 207, 216, 217–18 split-screen 8, 10

Stacey, E. 85

staged events 4 Table 0.1, 22 Fig. 1.20, 24 Fig. 1.22, 41 Fig. 2.7, 43–5

stepwise ‘animation’ 14, 15 Fig. 1.10 still pictures, or video 36

stimulation, of learning appetite 4 Table 0.1, 47–8, 48 Fig. 3.1

stop-start videos 73–5, 80 Table 4.3 story: telling 176 Table 6.5, 191–3;

texturing 27, 101 Table 5.3, 166–7, 193, 214

story-links 27, 102 Table 5.3, 175, 178, 193

Stratford, M. 85

structured exposition 105, 108–11 students: assessment of media

effectiveness 61–2; control of medium 82, 203–4; existing knowledge of 133–4, 157–8, 175; reactivity by 68, 82; recruitment of 65–6 Table 4.1; time spent on audiovision programmes 79; time spent on video packages 77; work records 211, 212, see also learning behaviour; learning styles; learning theories

study guidance, inside the video itself 173, 176

study-guides: for print–video packages 135–8, 175; TV broadcast notes 134–5 Table 6.1, 175

style, consistency of: on video 101 Table 5.3, 155

summary 102 Table 5.3, 140 Table 6.3, 172 superimposing 7

support see scaffolding

surprise 100, 101 Table 5.3, 138, 139 Table 6.3, 140, 141, 177

suspense 101 Table 5.3, 109, 142–3 symbol systems 3–4, 68, 69, 81 symbolism 4 Table 0.1, 16–20 synchronicity 126–7

synergy see picture–word synergy syntax 159–61

Tabbers, H.K. 195, 196, 209, 216, 217, 218 talking space 156 Table 6.1

tape-stops 191

target audience 100 Table 5.2, 116 Table 5.9, 123–4, 134, 183, 200; age and knowledge of 133–4, 157–8, 175, 182–3; designing for 131, 183, 200 taxonomy, of cognitive learning outcomes 70–3 Fig. 4.1, 75–6, 77, 78, 222–3

Table A2.1

Taylor, J. 194, 199, 200, 204, 215 teaching functions see pedagogic criteria teaching intentions 97 Table 5.1, 100 Table

5.2, 108–9, 115, 116 Table 5.9, 117–18, 133

teaching theories 104–11, 129, 148 technical processes 4 Table 0.1, 29 Fig.

1.27, 37–8

technical terms 123, 166, 188, 208 telecommunications, and computer-

mediated learning 84–6 telephone conferencing 84–5 television see TV

tempo 101 Table 5.3, 112–14 Tables 5.5–5.7, 134, 159–61, 211

temporal contiguity 216, 218

text see commentary; narrative structure; on-screen text; print

text message conferencing 85–6 texturing the story 27, 101 Table 5.3,

166–7, 193, 214 Thalheimer, W. 219

three dimensions 4 Table 0.1, 34 Fig. 2.1, 35 Fig. 2.2, 38–9 Fig. 2.6

tight editing 114 Table 5.7, 159–60 Table 6.4

time: condensing 4 Table 0.1, 22–4 Fig. 1.22; duration of process/activity 4 Table 0.1, 34 Fig. 2.1, 39, 42; students’ time spent on media use 77, 79; temporal contiguity 216, 218, see also tempo

transcripts, of commentary 208 transitory affective influences 46–7 tutorial programs 82

tutorial simulation 83 tutoring systems: ITS 83–4 tutors see speakers

TV (broadcast) 63, 65–6 Table 4.1, 70–2, 75; educational and documentary 173–4; programme notes for

134–5 Table 6.1, 136, 175, see also Dominance and Subordinacy

UK OU see Open University understanding, reinforcement of 101 Table

5.3, 167–72, 189–90, 193, 210–11, 214

usage 100 Table 5.2, 115–23, 133–5

Van Merriënboer, J.J.G. 107, 151, 192, 194, 197, 213, 214

variable length 66–7

variation, of format 101 Table 5.3, 140 Table 6.3, 166–7

verbal skills 32, see also words vicarious experiences see experiential

domain

video: added-value techniques 4 Table 0.1, 70–3 Table 4.2; distinctive attributes of 70–2, 73–5; ‘distinctive value video list’ 3; educational and documentary 173–4; experiential value of 34–45; learning outcomes for 76–8; nurturing value of 46–53; as preferred medium 117–18; production quality of 52, 58, 173, 174; selection of medium 88–91

Table 4.4, 130, see also Dominance

and Subordinacy; print–video packages; screenwriting framework

video assets 74

video grammar 101 Table 5.3, 155–7 video (recorded) media 63, 65–6 Table 4.1,

70, 73–5, 80 Table 4.3

video-led print–video packages 73–5, 138, see also print–video packages

viewer analysis 26 Fig. 1.24, 43, 75 viewer guidance 173, 176

viewer interaction see interactivity viewing purpose 60

viewpoints see inaccessible viewpoints Vincent, T., and Eisenstadt, M. 89 virtual reality 26–7

visual clarity 165–6 visual effects 19

visual materials, for audiovision 182 visual metaphors 4 Table 0.1, 16–20, 101

Table 5.3, 150–1

visuals: and audio commentary 147, 195–8, 210–11, 213; for multimedia packages 199, see also on-screen text

Vygotsky, L.S. 86

Watts, H. 157 Westera, W. 98, 172

words (spoken): auditory clarity 166, 186; conversational speech 158, 165, 183, 186, 201, 205; not duplicating pictures 101 Table 5.3, 124–5 Table 5.11, 137 Table 6.2, 147; order of 126–9; precede/ follow visuals 171 Table 6.5, 210–11; sentence-length 162, 185, 204–5; of speakers/narrators 188–9, 202, 207, 209–10; syntax and tempo 101 Table 5.3, 112–14 Tables 5.5–5.7, 150, 159– 61; talking space 156 Table 6.1; verbal skills 32, see also commentary; narrative structure; picture–word synergy

zooms 155–6