Information Technology Reference
In-Depth Information
C
Concept(see:conceptualterm)
Audiovisualconfiguration
1) The audiovisual configuration defines the form of expression or
mise en scène
of a subject thematized and treated in an audiovisual text. Firstly, it encompasses the
visual and sound shots and the linearization and synchronization of the two.
Secondly, it brings together the various techniques of audiovisual
mise en scène
:
visual techniques (such as framing, point of view, camera movements, choice of
visual shots, lighting, etc.) and sound techniques (such as the choice of a sound
source, sound framing, etc.). The systematic use of certain techniques to express a
specific type of subjects contributes to what is sometimes called a visual
(audiovisual) language, peculiar to a given type of audiovisual communication.
2) In technical terms, the audiovisual configuration defines a small library of
sequences*
and
models of description*
which the analyst uses either to perform
audiovisual description
stricto sensu
(i.e. description of the visual, sound or
audiovisual shots) or to describe the
mise enscène
or the audiovisual expression of a
subject, a theme of discourse.
3) In contrast to the sequences of
topical description*
and
models of
thematic
description*
, the sequences and models of audiovisual description are relatively
independent from one domain (object) of knowledge to another, from one
audiovisual corpus to another or indeed from one archive to another.
Discursiveconfiguration(ofdiscourseproduction)
1) The discursive configuration defines the strategies of discourse production
around a thematized object to make it into a theme of discourse (of the author) in the
strict sense. Thus, we take into consideration the discourse about a thematized
object, the point of view of the author (the enunciator), what is assumed to be
known
or to be
new
in a given communication context, his/her
references
to edify his/her
point of view on the subject, the level of
specialization
in the discursive treatment of
the thematized object, etc.
2) We distinguish between two types of analysis: analysis of the
discourse
production around a subject
, a
topic*
(a type of analysis which is extensively dealt
with in this topic; see Chapter 7 in particular) and
discursive description of the
audiovisualtext
(not dealt with in this topic). In the former case, as we know, we are
interested in the way in which an author approaches a specific subject, how s/he
deals with, e.g., the subject “technical culture of the
Chavín
civilization”:
what is
s/he interested in? What does s/he assume the addressee of the discourse already
