Difference between revisions of "Mondada2009"
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| − | | | + | |BibType=ARTICLE |
| − | | | + | |Author(s)=Lorenza Mondada; |
|Title=Video Recording Practices and the Reflexive Constitution of the Interactional Order: Some Systematic Uses of the Split-Screen Technique | |Title=Video Recording Practices and the Reflexive Constitution of the Interactional Order: Some Systematic Uses of the Split-Screen Technique | ||
| − | |||
|Tag(s)=EMCA | |Tag(s)=EMCA | ||
| − | | | + | |Key=Mondada2009 |
|Year=2009 | |Year=2009 | ||
|Journal=Human Studies | |Journal=Human Studies | ||
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|Number=1 | |Number=1 | ||
|Pages=67–99 | |Pages=67–99 | ||
| + | |URL=http://link.springer.com/article/10.1007%2Fs10746-009-9110-8 | ||
|DOI=10.1007/s10746-009-9110-8 | |DOI=10.1007/s10746-009-9110-8 | ||
|Abstract=In this paper, I deal with video data not as a transparent window on social interaction but as a situated product of video practices. This perspective invites an analysis of the practices of video-making, considering them as having a configuring impact on both on the way in which social interaction is documented and the way in which it is locally interpreted by video-makers. These situated interpretations and online analyses reflexively shape not only the record they produce but also the interactional order itself as it is documented. Dealing with practices of video-making not as a resource but as a topic, I explore a particular editing practice, the use of the split-screen technique, consisting in combining various camera views within the same image. This technique is now widely used in cinema, professional settings, TV, and social research. I focus on its uses in TV talk shows and debates: through a systematic sequential analysis of the positions where split screen is introduced, I show that directors do orient to the sequential features of interaction in using this technique and that, conversely, their uses of split screen reveal their local understanding�and configuring�of what the interactional dimension of debates and interviews consist of, for all practical purposes. | |Abstract=In this paper, I deal with video data not as a transparent window on social interaction but as a situated product of video practices. This perspective invites an analysis of the practices of video-making, considering them as having a configuring impact on both on the way in which social interaction is documented and the way in which it is locally interpreted by video-makers. These situated interpretations and online analyses reflexively shape not only the record they produce but also the interactional order itself as it is documented. Dealing with practices of video-making not as a resource but as a topic, I explore a particular editing practice, the use of the split-screen technique, consisting in combining various camera views within the same image. This technique is now widely used in cinema, professional settings, TV, and social research. I focus on its uses in TV talk shows and debates: through a systematic sequential analysis of the positions where split screen is introduced, I show that directors do orient to the sequential features of interaction in using this technique and that, conversely, their uses of split screen reveal their local understanding�and configuring�of what the interactional dimension of debates and interviews consist of, for all practical purposes. | ||
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Revision as of 12:17, 18 February 2016
| Mondada2009 | |
|---|---|
| BibType | ARTICLE |
| Key | Mondada2009 |
| Author(s) | Lorenza Mondada |
| Title | Video Recording Practices and the Reflexive Constitution of the Interactional Order: Some Systematic Uses of the Split-Screen Technique |
| Editor(s) | |
| Tag(s) | EMCA |
| Publisher | |
| Year | 2009 |
| Language | |
| City | |
| Month | |
| Journal | Human Studies |
| Volume | 32 |
| Number | 1 |
| Pages | 67–99 |
| URL | Link |
| DOI | 10.1007/s10746-009-9110-8 |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | |
| Chapter | |
Abstract
In this paper, I deal with video data not as a transparent window on social interaction but as a situated product of video practices. This perspective invites an analysis of the practices of video-making, considering them as having a configuring impact on both on the way in which social interaction is documented and the way in which it is locally interpreted by video-makers. These situated interpretations and online analyses reflexively shape not only the record they produce but also the interactional order itself as it is documented. Dealing with practices of video-making not as a resource but as a topic, I explore a particular editing practice, the use of the split-screen technique, consisting in combining various camera views within the same image. This technique is now widely used in cinema, professional settings, TV, and social research. I focus on its uses in TV talk shows and debates: through a systematic sequential analysis of the positions where split screen is introduced, I show that directors do orient to the sequential features of interaction in using this technique and that, conversely, their uses of split screen reveal their local understanding�and configuring�of what the interactional dimension of debates and interviews consist of, for all practical purposes.
Notes
