FYI: Call for Papers: Panel on Video in Business Communication
Call for abstracts for a panel on:
Embedding Video in Online Business Communication
The Multimodal Analysis of Corporate Video as an Interactive and Discursive Process
Panel to be held in conjunction with GABC 2013 – Global Advances in Business Communication
University of Antwerp, 29-31 May 2013
Panel convenors: Paul Sambre and Geert Brône (University of Leuven, Belgium)
In the digital era of web 2.0, genre studies have focused increasingly on the emergence of new multimodal genres next to traditional, written ones. In this panel, we zoom in on web-based video communication as a particular discursive locus of interaction between discourse and technology, through combined modi as varied as text, speech, image, graphics, sound, music and other semiotic resources for setting up interpersonal and interdiscursive relations with social actors or voices within and outside the organization. The use of video in web-based communication raises questions about its status as a product, process and practice in integrated institutional organization, both corporate and public. The panel explicitly addresses a range of research questions pertaining to this multimodal development:
1. Comparative analysis and genre classification of video and conventional or other web-based genres in corporate communication
2. Methodological and theoretical challenges for a multimodal analysis of corporate videos as product, process and practice
3. The analysis of interactional and interdiscursive relations in corporate video:
a. Interactional relations within the setting of the video
b. Interdiscursive relations between a video file and other external semiotic resources
The panel invites contributions that tie in with following lines of research in (applied) linguistics, pragmatics, discourse studies, communication research and (multimodal) corpus linguistics:
1. Different authors have stressed the notion of genre change in a rapidly evolving technological world (Garzone, Catenaccio, Degano 2012), referring both to evolution of previously existing ones and the emergence of new hybrid genres (Garzone 2012, Djonov et al. 2013). The study of the status and change in video communication largely remains an open question.
2. Digital media and web communication are interesting, as they frequently combine conventional written information with other semiotic modes in a flexible way: electronic media in this respect cross-fertilize with spoken media and visual information, like body posture, gesture and intonation (Levine and Scollon 2004). In web-based communication, the use of video interacts, on an interdiscursive level, with different conventional and new types of textual, graphical and communicative genres in web environments.
3. Video is a locus of corporate identity, displaying and building relations between organizations. Internal or external stakeholders are displayed, articulated and co-constructed in videos: we are interested in the way video sets up this discourse community (Swales 1990, Kress and Van Leeuwen 2006), e.g. in a CEO’s mission statement or comment on the annual report.
4. Video interactivity, conceived of as occurring within videos and between video and other media (like social ones), challenges linguistic and discursive views on interaction on different levels (McMillan 2006): as
a. a face-to-face interactive process between participants in a video sequence (e.g. corporate video interview) (Thibault 2008, Heath et al. 2010),
b. a channel connecting users synchronously (e.g. the use of Skype in videoconferencing) or asynchronously (e.g. video resumes, corporate address) (Tan 2010),
c. the re-elaboration of corporate information by other video users in web-based communication like discussion fora, weblogs, instructional videos, social media and online helpdesks, to name but a few (Kress 2010: 45 and 121, Adami 2009, Bateman 2012, Bateman and Schmidt 2011).
5. From a theoretical perspective, multimodal analysis is rooted primarily in systemic-functional grammar. Classification of video genres implies formulating answers concerning the macro- and micro-structural functions, moves and constructions used in video communication, and the added value of video in the media-mix (O’Halloran 2008, 2011).
6. The multimodal character of corporate video, not only as a product, but also as a mediated process and creative practice of communication (Bhatia 2012) may open up interesting theoretical perspectives as to the complementarity between functional, cognitive, pragmatic and critical views on language, where language, communication and discourse appear as factors of (re)contextualization, adaptability and glocalization (Auer 2009, Bhatia, 2010, Verschueren 1999, Blommaert 2010, Fairclough 2009, Sambre 2012).
7. Video-based analysis requires methodological reflection on the methods, techniques and tools for multimodal analysis (Jewitt 2011, Baldry and Thibault 2005), i.e. annotation (Bateman, Delin & Henschel 2004, Brône & Oben fc.), concordances (Baldry 2007, Baldry and Thibault 2008), protocols, questionnaires and peer-assessment (Van Leeuwen 1998, Morell et al. 2012), ethnographic work on video production and reception (Kress 2011), and other qualitative and quantitative methods used in the vast and multifaceted domain of visual studies and visual semiotics (O’Halloran 2004, Van Leeuwen 2011, Jewitt and Oyama 2001).
- Abstracts: max. 500 words, to be submitted via the central conference submission system. All abstracts will be subjected to a double blind reviewing procedure by the ABC scientific committee and the panel convenors. For more details, see: http://www.ua.ac.be/main.aspx?c=.GABC2013&n=110223
When submitting the abstract, please indicate the panel for which the abstract is intended (Panel: Video in Business Communication)
- Submission deadline: 24 January 2013
- Notification of acceptance: 15 February 2013
- Practical questions? Please contact the panel convenors:
Paul Sambre (email@example.com)
Geert Brône (firstname.lastname@example.org)
Adami, E. 2009. ‘We/You Tube’: exploring sign-making in video-interaction. Visual Communication 8(4): 379-399.
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