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D e s i g n i n g V i d e o a n d M u l t i m e d i a f o r O p e n a n d F l e x i b l e L e a r n i n g

In recent years there has been a resurgence in the use of video in teaching and training contexts, due to technological advances that enable good quality moving pictures through CD-Rom, DVD and broadband Internet. This book offers advice and assistance to a growing group of teachers and trainers, technical and support staff in the most effective deployment of video and multimedia in open and distance learning.

A bridge between research and practice, Designing Video and Multimedia for Open and Flexible Learning discusses:

what to teach on video and how to teach it;

when to choose and how to use other media for teaching;

a framework of pedagogic design principles for video and multimedia;

practical development advice for interactive multimedia.

With insights into the comprehensive process of designing, developing and managing distance learning materials, this book will appeal to readers with varying interests and responsibilities, including course development, educational video, audiovision and interactive multimedia design, as well as to students of general video and multimedia production.

Jack Koumi is a freelance consultant and trainer in the scripting and production of education media. He has conducted over 50 training projects in educational media in 20 countries. Previously, he worked for 22 years at the BBC Open University Production Centre, producing audio and video programmes in Science and Mathematics.

D e s i g n i n g V i d e o a n d M u l t i m e d i a f o r O p e n a n d F l e x i b l e L e a r n i n g

Jack Koumi

First published 2006 by Routledge

2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Simultaneously published in the USA and Canada by Routledge

270 Madison Ave, New York, NY 10016

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2006 Jack Koumi

This edition published in the Taylor & Franchis e-Library, 2006.

“To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

A catalog record for this book has been requested

ISBN10: 0–415–38304–8 (hbk)

ISBN10: 0–415–38303–x (pbk)

ISBN13: 978–0–415–38304–2 (hbk)

ISBN13: 978–0–415–38303–5 (pbk)

C o n t e n t s

List of figures

vii

List of tables

ix

Acknowledgements

xi

Series editor’s foreword

xii

Study guide – how you might use this book

xiv

PART I

 

Techniques and teaching functions that

 

exploit video’s strengths, adding pedagogic

 

value

1

Introduction: the added-value categories

3

1 Video that adds cognitive value or skills value: domain 1 of

 

Table 0.1; distinctive ways to help learning and skills

7

2 Video that adds experiential value: domain 2 of Table 0.1;

 

providing vicarious experiences

34

3 Video that adds nurturing value: domain 3 of Table 0.1;

 

nurturing motivations, feelings

46

PART II

 

Media selection and deployment

55

4 Matching media attributes to learning tasks and teaching

 

functions

57

vi

Contents

 

PART III

 

Pedagogic screenwriting principles for video

93

5

Screenwriting for video in educational multimedia: an

 

 

overview of the pedagogic screenwriting principles

95

6

Screenwriting for video in educational multimedia: in-depth

 

 

coverage of the principles of Table 5.3

133

PART IV

 

Picture – word synergy for audiovision and

 

multimedia

179

7

Principles of picture–word synergy for audiovision

181

8

Screenwriting principles for a multimedia package:

 

 

picture–word synergy for multimedia with audio commentary

194

 

Appendix 1

221

 

Appendix 2

223

 

References

224

 

Index

229

F i g u r e s

1.1

Screen inserts: child plus picture

8

1.2

(A) Somatic radiation effect, (B) heredity radiation effect

9

1.3

Chroma-key

9

1.4(A) The mathematical surface: Klein bottle with disc removed,

 

(B) initial distortion, (C) further distortion, (D) final distortion

11

1.5

Varied histograms, all with the same mode

11

1.6

(A) Human throat, (B) narrowing when breathing in

12

1.7(A) Mine ceiling collapsed intentionally, (B) if collapse is

prevented, a more dangerous collapse results

12

1.8(A) Pressure cuff technique, (B) Artist’s impression, inside the

arm

13

1.9(A) Breathing in, throat narrows, thorax widens, (B) Breathing

 

out, throat widens, thorax narrows

14

1.10

(A) Construction of a bronze-age axe, (B) next stage of the

 

 

construction, (C) final stage of construction

15

1.11

Do students learn from animations or are they merely entertained?

16

1.12

Pressure portrayed by vibrating arrows

16

1.13

A car thief appears from nowhere

17

1.14

(A) Original graph, (B) going back to an earlier time,

 

 

(C) result of intervention at the earlier time

17

1.15

(A) Sucking on a collapsed drinking straw: analogy for difficulty

 

 

breathing in, (B) no difficulty breathing out

18

1.16

A homunculus illustrates differential sensitivity in different parts

 

 

of the body

18

1.17

Back hand rub: aural

19

1.18

Metaphor for variability of data

20

1.19(A) Equal angles made by lines through each focus of an ellipse,

(B) each beam of light through a focus is reflected to pass through

the second focus

21

1.20 (A) Biased darts, poor player, (B) biased darts, good player,

 

(C) balanced darts, poor player, (D) balanced darts, good player

22

viiiList of figures

1.21(A) Axe being covered with sand: first 7 of 35 seconds, (B) cutaway of man’s face (3 seconds), (C) Final 7 seconds of the 35

second activity

23

1.22 (A) Strking plate channel chiselled out, (B) striking plate

 

positioned, (C) close-up of fitted striking plate

24

1.23(A) Blood pressure reading: pregnant woman, (B) blood pressure reading: old person in hospital, (C) blood pressure reading: in a

 

surgery

25

1.24

Blood pressure reading

26

1.25

(A) Reassuring doctor, (B) intimidating doctor

27

1.26

Narrative sequence

28

1.27

Student learning from Audiovision

29

1.28

BCU of anastomosis

30

1.29

(A) Ice skater, arms wide, (B) close arms to quicken spin

30

1.30

Bereavement counselling

31

1.31

ICT in the Primary classroom

32

1.32

ICT in the Secondary classroom

33

2.1

Semi-molten metal, sliced and distorted

34

2.2

Bore-hole drill with rotating teeth

35

2.3

Control mechanism, balancing a ruler

35

2.4

Molten metal in a foundry

36

2.5

BCU molten metal poured into a mould

38

2.6

Rotating ore sample

38

2.7(A) Assembling a stool: two men not following instructions

correctly, (B) The bored assembler, speeded up

42

3.1 Richard Feyneman, a charismatic teacher

49

3.2(A) Start of the solution to join up the dots with four straight

 

lines, (B) extend the first line past the three dots, then diagonally

 

 

down/left, (C) complete by drawing upwards then diagonally

 

 

down/right

49

4.1

Revision of Bloom’s taxonomy

72

4.2

Checklist for the three types of video package

77

4.3

Learning by interaction with teachers and peers

86

6.1

Allow talking space

156

6.2

Do not cross the line of action

157

6.3Levels of phenomena and their investigation in the brain and

behavioural sciences

163

6.4 Simplification of the relationships, as shown on the video

163

6.5Alternative classification of elements of Table 5.2: narrative

 

characterization (rather than pedagogic classification)

176

7.1

Two pages of frames in landscape format

187

A1.1

Revised Bloom’s Taxonomy

223

Ta b l e s

0.1

Added value video techniques and teaching functions

4

1.1

Categories of skills

28

4.1Comparative merits and distinctive teaching attributes of six

different media: print, TV and radio (broadcast), video and audio

 

(recordings), audiovision (audio + notes/visuals)

65

4.2 Added value video techniques and teaching functions

71

4.3Summary of teaching functions and learning tasks, for media

other than self-standing, non-stop video/TV or computer

80

4.4 Three-stage scheme for media selection

89

5.1The pedagogic framework of narrative screenwriting principles

(part (a) is expanded in Table 5.2 and part (b) in Table 5.3)

97

5.2 Three usage dimensions

100

5.3A Pedagogic Screenwriting Framework for each chapter of the

 

content narrative

101

5.4

Outline of the TV programme, Dominance and Subordinacy

111

5.5

Shots 1 to 3 of the TV programme, Dominance and Subordinacy

112

5.6

Summary of the varying tempo signals in shots 1, 2, 3

113

5.7

The signals given by the 4 possible tempos

114

5.8

Shots 4 to 14 of Dominance and Subordinacy

115

5.9Specifications (values) in the three Usage dimensions for the TV

 

programme Dominance and Subordinacy

116

5.10

Video sections, narration that initiates each section and implicitly

 

 

refers to objectives

119

5.11

Illustration of principle 4a: words not duplicating pictures

125

5.12

Transcript of an animal behaviour shot: in Dominance and

 

 

Subordinacy

126

5.13

Unnatural word order, to maximize picture–word synergy

128

5.14

A more natural word order, but the words do not match the

 

 

pictures

129

5.15

Professional Integrity

130

6.1Broadcast Notes for TV – an important example of complementary

learning (Table 5.2, dimension B)

135