Interest is key to learning. Video is a promising tool for interest development in education, but professionals in education are in need of more theory-grounded guidance for production, selection,... Show moreInterest is key to learning. Video is a promising tool for interest development in education, but professionals in education are in need of more theory-grounded guidance for production, selection, and use of videos. In previous studies, we developed and validated a model on film’s interest raising mechanisms in educational contexts, called the FIRM model. In the qualitative study reported here, we used the model to explain how pupils’ appraisals of video characteristics relate to their interest in the video. We evaluated the use of five videos in seven 12th-grade science and mathematics classrooms (177 pupils). We measured interest at scene level and grouped pupils on general interest. We performed video analyses, case studies (N = 5), and a cross-case analysis. Our findings resulted in three relationships between appraisals and interest, regarding the video’s complexity level and the pupils’ knowledge level, pupils’ recognition of video categories, and pupils’ expectations of videos. Show less
Lange, F.J. de; Hofland, W.P.M.E.; Ferrara, A.; Gargaro, A.; Brignole, M.; Dijk, J.G. van 2022
Aims We describe a novel, practical, and inexpensive method to add video recording during tilt table testing (TTT): Open-Access-Video-TTT. Methods and results The Open-Access-Video-TTT set-up uses... Show moreAims We describe a novel, practical, and inexpensive method to add video recording during tilt table testing (TTT): Open-Access-Video-TTT. Methods and results The Open-Access-Video-TTT set-up uses a personal computer (PC) to capture screen video data from a non-invasive-beat-to-beat (NIBTB) haemodynamic blood pressure (BP) device, combined with video recording of a patient, using Open Broadcaster Software (OBS (R)). The new Open-Access-Video-TTT set up was tested with both the Finometer (model Finapres Nova (R), Medical Systems, the Netherlands) and the Task Force (R) Touch Cardio monitor (CNSystems, Austria). For this, the Finapres Nova (R) was enabled in 'remote' mode and Real Video Network Computing (RealVNC (R)) was installed on the PC/laptop. The Task Force (R) has a DisplayPort (DP) port, for which a DP/ high-definition multimedia interface (HDMI) cable and a video capture card is used to merge the signals to the PC/laptop. With this method the combined images are stored as a new video signal. TTT can be performed with any routine protocol. Conclusions Open Access-Video-TTT worked well for both the Finapres NOVA (R) and the Task Force Monitor (R). This novel method can be used easily by all physicians who wish to add video recording during TTT who do not have access to an electroencephalogram machine. Show less
Boone, M.M.; Dubelaar, M.J.; Wingerden, S.G.C. van 2022
Zittingen waarbij de verdachte via een videoverbinding door de rechter wordt gehoord hebben in het coronatijdperk een hoge vlucht genomen. Welke lessen kunnen er getrokken worden uit deze... Show moreZittingen waarbij de verdachte via een videoverbinding door de rechter wordt gehoord hebben in het coronatijdperk een hoge vlucht genomen. Welke lessen kunnen er getrokken worden uit deze ervaringen met telehoren en welke principiële bezwaren en praktische obstakels moeten overwonnen worden om het telehoren een structurele plek in de strafrechtspraktijk te geven? Dit zijn urgente vragen in het licht van de aangekondigde voorstellen om telehoren een vaste rol te geven in de strafrechtspleging. Auteurs doen verslag van empirisch onderzoek dat is verricht naar de inzet van digitale middelen ten behoeve van het horen van verdachten en de effecten daarvan op positie van verdachten in het strafproces. De bevindingen nopen tot nadere bezinning. Show less
Film has been used for education ever since educators recognized its powerful potential for learning. But its educational application has been criticized throughout the decades for underuse of the... Show moreFilm has been used for education ever since educators recognized its powerful potential for learning. But its educational application has been criticized throughout the decades for underuse of the distinctive potential of film: to raise interest. To understand more fully film's potential for learning, we propose a dynamic model of viewer interest and its underlying cognitive and emotional mechanisms (film's interest raising mechanisms or FIRM model). In addition, we present an analysis method for assessing the interestingness of films in learning contexts. Our model marries interest theories from cognitive film theory and educational psychology and captures the dynamics of interestingness across a film as depending on a balance between challenge posed and coping potential provided. Show less
Wijnker, W.; Bakker, A.; Gog, T. van; Drijvers, P. 2018
Teachers are increasingly using video in their lessons, with various aims (eg, to raise students' levels of conceptual knowledge or interest). Videos that can be used for educational purposes are... Show moreTeachers are increasingly using video in their lessons, with various aims (eg, to raise students' levels of conceptual knowledge or interest). Videos that can be used for educational purposes are numerous, ranging from instruction videos to fiction films. Such videos have different characteristics, for example regarding the amount and structure of information, and the audio-visual presentation. However, guidelines on which video characteristics can help to achieve specific teacher aims are lacking. As a first step towards composing such guidelines, we added a film theory perspective to educational research on videos. The study included seven science teachers, 13 videos, and 233 students (aged 13-18 years). We used teacher interviews, video analyses, student questionnaires and a cross-case analysis connecting all the data. Data analysis followed a grounded theory approach, including open and axial coding to structure the data, and the constant comparative method to interconnect them. The results showed that videos that posed questions were associated with an increase in students' interest, and that highly informative videos with authoritative speakers were associated with an increase in students self-reported conceptual knowledge gains. Moreover, teachers often did not have explicit aims for using a particular video, and they selected and used videos in their lessons intuitively. Stimulating teachers to use videos in a more aim oriented way may make video usage more effective. From these findings, we developed a framework to assist teachers in selecting or making videos that match their aims, and a model of possible connections between teacher aims and film types as a first step towards guidelines for teachers using educational videos. Show less
The cinema of Japan has long played a central role in the study of film. But its well-established canon of master directors and classic films obscures as much as it reveals. A case in point is... Show moreThe cinema of Japan has long played a central role in the study of film. But its well-established canon of master directors and classic films obscures as much as it reveals. A case in point is video, arguably the most transformative technological change in cinema since the introduction of sound film. Yet, film scholars have long looked down on video as a substandard medium without scholarly interest. This has left a large gap in our knowledge and understanding of recent Japanese cinema.“V-Cinema” was launched in 1989 at the confluence of a well-developed video market and Japan’s booming economy. A production and distribution strategy for movies released directly onto home video, it produced well over a hundred movies a year. Although a commercial distribution strategy for the domestic market with little or no artistic ambition, V-Cinema provided a platform for new auteur filmmakers, forms, and genres into the global film culture.For both its unsung volume and its exceptional proponents that made it into international film discourse, V-Cinema challenges accepted notions of cultural value and what exactly constitutes the cinematic experience, providing insight into the formation of cinematic canons and inviting us to rethink what we mean by “Japanese cinema”. Show less
Mapping Moving Media is an inquiry into the specificity of film and video. In this study, I argue that mapping the specificity of these two media is indispensable in analyzing and understanding... Show moreMapping Moving Media is an inquiry into the specificity of film and video. In this study, I argue that mapping the specificity of these two media is indispensable in analyzing and understanding contemporary intermedial objects in which film and video are mixed or combined. Our understanding of the meanings and effects of moving images in contemporary society will increase when combinations of film- and video elements within moving image objects are taken into account. Contemporary (new) media theory offers a wide range of terms by which interrelations between media can be defined and conceptualized. However, although I take the wide variety of notions such as remediation and hypermediacy as helpful tools in analyzing the relationships between media, I argue that the starting point of an investigation into intermedial interactions should be the concept of medium specificity instead of the many notions which define forms of intermediality. This does not mean that we should return to some of essentialist ideas on medium specificity which have been attached to the concept. However, the rightful conclusion that essentialist ideas on medium specificity are rendered untenable by today’s mixed, multi-, and intermedia, too often overshadows the question of what is being mixed, expanded, remediated, refashioned, converged or combined. In this study I ask the questions “what is meant by video?” and “what is meant by film?” How are these two media (to be) understood? Can film and video be defined as distinct, specific media, and if so, how? I hold that in this era of mixed moving media, it is vital to ask these questions precisely and especially on the media of video and film. Show less
