Sources of Complexity in Narrative Comprehension across Media

Magliano, Joseph P.; Higgs, Karyn; Clinton, James A.

doi:10.2307/j.ctvhktjh6.12

Cited by 11 publications

(3 citation statements)

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“…Although the terms multimedia and multimodal are sometimes used interchangeably (Moreno & Mayer, 2007), using them separately may help differentiate between multimedia texts that are primarily static (printed words and graphics) and multimodal texts that are more dynamic, in ways that are more typical of digital texts. Dynamic features further complicate the comprehension of multimedia and multimodal texts (Dalton & Proctor, 2008; Magliano, Higgs, & Clinton, 2019). Arrows used to connect ideas in the text region of Figure 1 reflect the increasing complexity that each diverse text type likely introduces to the meaning‐making process.…”

Section: A Multifaceted Heuristic To Characterize the Complexity Of Dmentioning

confidence: 99%

Toward a Multifaceted Heuristic of Digital Reading to Inform Assessment, Research, Practice, and Policy

Coiro

2020

Reading Research Quarterly

111

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In this commentary, the author explores the tension between almost 30 years of work that has embraced increasingly complex conceptions of digital reading and recent studies that risk oversimplifying digital reading as a singular entity analogous with reading text on a screen. The author begins by tracing a line of theoretical and empirical work that both informs and complicates our understanding of digital literacy and, more specifically, digital reading. Then, a heuristic is proposed to systematically organize, label, and define a multifaceted set of increasingly complex terms, concepts, and practices that characterize the spectrum of digital reading experiences. Research that informs this heuristic is used to illustrate how more precision in defining digital reading can promote greater clarity across research methods and advance a more systematic study of promising digital reading practices. Finally, the author discusses implications for assessment, research, practice, and policy.

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Section: A Multifaceted Heuristic To Characterize the Complexity Of Dmentioning

confidence: 99%

Toward a Multifaceted Heuristic of Digital Reading to Inform Assessment, Research, Practice, and Policy

Coiro

2020

Reading Research Quarterly

111

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“…Specifically, SPECT is currently constrained to describing the front-end processes that support film processing in the visual system, and is agnostic about those involved in linguistic and non-linguistic auditory perception. Film is obviously a multimodal experience, and a comprehensive framework should eventually account for a range of front-and back-end processes associated with processing scenes; including linguistic information, diegetic sounds, and non-diegetic sounds (Magliano et al 2013, Magliano, Higgs, andClinton 2019).…”

Section: Implications For Spectmentioning

confidence: 99%

“This Ticking Noise in My Head”

et al. 2021

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This study tested the role of the audio soundtrack in the opening scene of Orson Welles’s Touch of Evil (Orson Welles and Albert Zugsmith, 1958) in supporting a predictive inference that a time bomb will explode, as the filmmakers intended. We designed two experiments and interpreted their results using the Scene Perception and Event Comprehension Theory (SPECT). Across both experiments, viewers watched the scene, we manipulated their knowledge of the bomb, and they made a predictive inference just before the bomb would explode. Experiment 1 found that the likelihood of predicting the explosion decreased when the soundtrack was absent. Experiment 2 showed that individual differences in working memory accounted for variability in generating the prediction when the soundtrack was absent. We explore the implications for filmmaking in general.

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“…Investigations have addressed the issue by assessing whether the abilities used to process narratives are specialized for single modalities (e.g., Coderre et al, 2020;Manfredi et al, 2017;West and Holcomb, 2002;Yuan et al, 2018). The focus has been mainly on the comparison between linguistic and visual narratives (e.g., Magliano et al, 2019;Magliano et al, 2013). The latter have been defined as sequences of images created with the intention of conveying meaning, generally through the representation of one or more events in succession (Cohn, 2019;Cohn and Magliano, 2020), with the meaning being transmitted both locally (in correspondence of the single images) and globally (among the sequences of images).…”

Section: Introductionmentioning

confidence: 99%