Information Technology Reference
In-Depth Information
- A collection of sequences entitled
Analysis of the audiovisual expression of the
subject
(Figure 16.1). As this figure shows, this collection is only developed for
analyzing the audiovisual
mise en scène
of an object or domain dealt with in a text:
visual point of view, framing and visual shots, soundscape, etc.
- Finally, a collection of sequences reserved for the analyst's meta-discourse - a
collection which (in our example) contains only one sequence, enabling the analyst
to add free commentary to his description of such-and-such a subject.
Every library of sequences of description is organized in a manner identical to
the example briefly presented above. However, it should not be forgotten that in this
example, we have only developed those collections of sequences which we need in
order to specify the descriptive models enabling us to carry out a very specific type
of analysis - the
description of the audiovisual content*
(see Figure 4.3, which
identifies the main descriptive tasks which must be carried out for this type of
analysis). For the library of sequences to be complete, we would have to add the
sequences and collections of sequences needed in order to carry out the tasks of the
other main types of analysis - namely
paratextual description*
,
pragmatic
description*
and indeed
audiovisualdescription*strictosensu
.
Any sequence can be re-used in different libraries of descriptive models. In other
words, the
same sequence
can serve to define the metalanguage of description of the
universes of discourse of
different
audiovisual archives. For instance, the sequence
Analysis “Scientific research in HSS”
is a sequence used not only for describing the
corpora belonging to the FMSH-ARA archives but also for describing corpora from
other archives for which the domain of scientific research in HSS is pertinent.
This point leads directly on to the importance of clearly distinguishing between
the
different levels of integration
which characterize the
metalanguage of
description*
of the
universe of discourse*
of an audiovisual archive. Thus, we must
distinguish between:
‒
the level of the
conceptualterms
and the level of the
schemasof indexation
for
selecting and informing a conceptual term (or configuration of conceptual terms)
(see Chapter 14);
‒
the level of the schemas of definition, which can be broken down into schemas
of definition of the analytical objects and schemas of definition of the analytical
activities (see below);
‒
the level of sequences of analysis and that of collections of sequences of
analysis;
‒
the level of
models of description
(thematic, audiovisual, paratextual, meta-
textual, etc.);
