Conventional articles, papers and essays consist at the very least of written text, a succession of words put on paper. With this medium, everything from speech quotes to titles, representations of events, locations, and even
When setting up a
The category of ‘autonomous academic video’ needs to be a presentation of completed research almost per default. Although we think we have already made this distinction, we would like to stress this yet again.
Video lectures and formal
Having regarded the ‘outer shell’ of the proposed medial transposition, we will now turn to
While it can be argued that the possibility to pause and rewind video is similar to flipping the pages of a book, momentarily the choppiness of streaming video (or even the precise time-coordinates of a video player) do not offer the same ease and precision. Additionally, starting a video prompts some kind of viewership, where intervening seems much more like a hassle as opposed to reading a book where turning a page is part of progressing through the text: video is set up in a way that it progresses through the text in an, ideally, optimized fashion, so it is logical for an audience to expect a rhythm where he or she need not intervene. This is a nuance that cannot be quantified, but something that will surely mature as we grow accustomed to both producing and watching videographic works.
At the end of an autonomous video, it would be logical to include at least a general works cited list, as one would with any write-up that contains references to external sources. Additionally, as we have learned from experience, viewers might appreciate a final chart-like overview of all the references the video features (because, like we said before, one cannot just as easily flip back). Figure 35 shows a mock-example of what such a table could look like, loosely based on our experience with the (un)realiable (un)reliability video. Note that such a chart would be supplied after the general bibliography/videography section, enabling compact references. As long as video is closed-off, one cannot leaf through it as one would with a book, therefore this is an alternative, again, to compromise for the audiovisual form’s innate evanescence.
We would also like to offer some preliminary thoughts on audiovisual literacy and the interplay between modalities in terms of redundancy and succession (an issue we consider closely