Contents
1. Introduction
Disappointments
The practice and theory of film
The didactic perspective
The scenario
The contents of this book
Conclusions
2.
Audiovisual media
Introduction
The commercial and the learning effect
Mass media
Learning from television
Dialectical thought
Media and communication
'The medium is the message'
Linear versus interactive audiovisual media
Linearity in interactive media
Interaction in linear media
Subcultures in audiovisual media
Future audiovisual applications
3.
Learning and teaching
Introduction
The educational perspective
Theories of learning
Educational design
Learning objectives
The cognitive domain
The affective domain
The psycho-motor domain
Didactic models
Learning by experience
Classical conditioning
Operant learning
Problem-based learning
Problem-oriented learning
Other didactic models
Learning by listening versus learning by doing
4.
Choosing a medium
Introduction
Didactics and choosing a medium
Limiting conditions
Communication as a translation problem
Comparative media studies
Models for choosing a medium
A strategy for choosing a medium
Features of film and video
References to audiovisual information modalities
Functions of AV media
Financial and pragmatic considerations
Conclusion
5. Meaning
in film
Introduction
Words and images
Film as a symbolic system
The semiotic perspective
Social codes
Semiotic conceptual framework
Denotative and connotative meaning
Denotation and connotation in film
The cinematic context
The cultural context
The meta communicative context
Concluding remarks
6.
Watching and listening
Introduction
The physiology and psychology of perception
Image versus sound
The functional structure of the brain
The spinal cord
The limbic system
The neocortex
Processing connotations
Evoking emotions
Theories of perception
Empiricism
7. Moving
the viewer
Introduction
Realism
Formalism
Dualism as the solution for the reality debate
Film as the viewer's mirror
Psychoanalysis as a source of film theory
Regression
Exhibitionism and voyeurism
Fetishism
Identification
Emotions
The scope of film theory
8. Film
and education
Introduction
The educational film
Functionality
Acceptance as a critical factor
Learning words and images
Redundancy
Research into moving images
Manipulation and credibility
Didactic principles
Film and depth
Profile of an educational film
9. The
audiovisual production process
Introduction
The scenario method
Cinema vérité
Intermediate forms
Expertise
Functions and persons
The audiovisual producer
Phases in the production process
-1. The orientation phase
-2. The concept development phase
-3. The specification phase
-4. The production planning phase
-5. The shooting phase
-6. The montage phase
-7. The completion phase
-8. The distribution phase
-9. The evaluation phase
10.
Developing the concept
From
euphoria to depression
Film and structure
Descriptive versus narrative
Dramatic principles
Working towards a treatment
-1. Deconstructing the contents
-2. The premise
The premise in the non-fiction film
The premise as a guiding motif
Premise and objectives
-3. An underlying concept
Similarities as the key
Irrationality
-4. Style and tone
Conclusion
11.
Structure
The
concept of structure
Narrative as cultural phenomenon
Syntagmatic structure
Paradigmatic structure
Building blocks of cinematography
Organizing principles
Structural tools
The conflict as the driving force
Role and character
The protagonist and the antagonist
Sustained suspense
The opening sequence
Techniques for increasing suspense
-1. Rousing expectations
-2. Emphasizing contrasts
-3. Knowledge advantage
-4. Knowledge disadvantage
-5. Postponement
-6. Recognition
-7. Pathetic outburst
Conclusion
12.
Presentation
Now
then...
Presentation and subjectivity
Who's speaking...?
Effects on the viewer
A hierarchy of narrators
The literary narrative perspective
Presentation forms
The presenter
The interview
The voice-over
The recording
The acting scene
On towards a treatment
13. Image
Spectacle
Action
Arena
Composition of image
Camera angles
Special effects
Camera movements
Changing images
14. Sound
Sound imagery
The importance of sound
Sound as part of film
A typology of sound
Set noise
Sound effects
Music
Voice-over
The nature of the commentary
Sentence structure
Word choice
15. Synergy
of image and sound
Film as magic
Coherence of image and sound
The set of didactic tools at micro level
-1. Preparing the viewers
-1a. Getting their attention
-1b. Announcing
-1c. Fine-tuning to viewers
-2. Focusing attention
-2a. Introducing
-2b. Emphasizing
-2c. Relating
-3. Activating
-3a. Building in suspense
-3b. Asking questions
-3c. Offering opportunity for reflection
-4. Feedback
-4a. Immediate feedback
-4b. Spontaneous feedback
-4c. Delayed feedback
-4d. Projected feedback
-4e. Conclusion/generalizations
-5. Repetition
5a. Offering information again
5b. Summarizing
5c. Confirming and reconfirming
Postscript
Bibliography
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