How to improve learning from video, using an eye tracker

The initial trigger of this research about learning from video was the availability of log files from users of video material. Video modality is seen as attractive as it is associated with the relaxed mood of watching TV. The experiments in this research have the goal to gain more insight in viewing patterns of students when viewing video. Students received an awareness instruction about the use of possible alternative viewing behaviors to see whether this would enhance their learning effects. We found that: - the learning effects of students with a narrow viewing repertoire were less than the learning effects of students with a broad viewing repertoire or strategic viewers. - students with some basic knowledge of the topics covered in the videos benefited most from the use of possible alternative viewing behaviors and students with low prior knowledge benefited the least. - the knowledge gain of students with low prior knowledge disappeared after a few weeks; knowledge construction seems worse when doing two things at the same time. - media players could offer more options to help students with their search for the content they want to view again. - there was no correlation between pervasive personality traits and viewing behavior of students. The right use of video in higher education will lead to students and teachers that are more aware of their learning and teaching behavior, to better videos, to enhanced media players, and, finally, to higher learning effects that let users improve their learning from video

Animating Film Theory

Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory. For the most part, animation has been excluded from the purview of film theory. The contributors to this collection consider the reasons for this marginalization while also bringing attention to key historical contributions across a wide range of animation practices, geographic and linguistic terrains, and historical periods. They delve deep into questions of how animation might best be understood, as well as how it relates to concepts such as the still, the moving image, the frame, animism, and utopia. The contributors take on the kinds of theoretical questions that have remained underexplored because, as Karen Beckman argues, scholars of cinema and media studies have allowed themselves to be constrained by too narrow a sense of what cinema is. This collection reanimates and expands film studies by taking the concept of animation seriously. Contributors. Karen Beckman, Suzanne Buchan, Scott Bukatman, Alan Cholodenko, Yuriko Furuhata, Alexander R. Galloway, Oliver Gaycken, Bishnupriya Ghosh, Tom Gunning, Andrew R. Johnston, Hervé Joubert-Laurencin, Gertrud Koch, Thomas LaMarre, Christopher P. Lehman, Esther Leslie, John MacKay, Mihaela Mihailova, Marc Steinberg, Tess Takahash

Animating Film Theory

Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory. For the most part, animation has been excluded from the purview of film theory. The contributors to this collection consider the reasons for this marginalization while also bringing attention to key historical contributions across a wide range of animation practices, geographic and linguistic terrains, and historical periods. They delve deep into questions of how animation might best be understood, as well as how it relates to concepts such as the still, the moving image, the frame, animism, and utopia. The contributors take on the kinds of theoretical questions that have remained underexplored because, as Karen Beckman argues, scholars of cinema and media studies have allowed themselves to be constrained by too narrow a sense of what cinema is. This collection reanimates and expands film studies by taking the concept of animation seriously. Contributors. Karen Beckman, Suzanne Buchan, Scott Bukatman, Alan Cholodenko, Yuriko Furuhata, Alexander R. Galloway, Oliver Gaycken, Bishnupriya Ghosh, Tom Gunning, Andrew R. Johnston, Hervé Joubert-Laurencin, Gertrud Koch, Thomas LaMarre, Christopher P. Lehman, Esther Leslie, John MacKay, Mihaela Mihailova, Marc Steinberg, Tess Takahash

Technē/Technology:Researching Cinema and Media Technologies - Their Development, Use, and Impact

Technē/Technology is the up-to-date critical volume on the theories, philosophies, and debates on technology and their productivity for the fields of film and media studies. Comprehensive as well as innovative, it is not organised around a single thesis - except the assertion that technique is a major concern for film and media scholars, whether this is approached in terms of philosophy, techno-aesthetics, semiotics, apparatus theory, (new) film history, media archaeology, the industry or the sensory / cognitive experiences. Technē/Technology deliberately includes contributions by film and media experts working in very different ways on a wide range of technology-related issues. A major questions to be addressed in this book is how the new philosophies (of technology) created in relation to major technological transformations - such as the new philosophies of (media) technology formulated by Benjamin, Heidegger, McLuhan, Kittler, or Stiegler - could or did contribute in turn to the modification of film theory and some of its key concepts

Technē/Technology:Researching Cinema and Media Technologies - Their Development, Use, and Impact

Technē/Technology is the up-to-date critical volume on the theories, philosophies, and debates on technology and their productivity for the fields of film and media studies. Comprehensive as well as innovative, it is not organised around a single thesis - except the assertion that technique is a major concern for film and media scholars, whether this is approached in terms of philosophy, techno-aesthetics, semiotics, apparatus theory, (new) film history, media archaeology, the industry or the sensory / cognitive experiences. Technē/Technology deliberately includes contributions by film and media experts working in very different ways on a wide range of technology-related issues. A major questions to be addressed in this book is how the new philosophies (of technology) created in relation to major technological transformations - such as the new philosophies of (media) technology formulated by Benjamin, Heidegger, McLuhan, Kittler, or Stiegler - could or did contribute in turn to the modification of film theory and some of its key concepts