Hybrid documentary formats [Elektronische Ressource] : how narrative elements in archaeological television documentaries influence processing, experience, and knowledge acquisition / vorgelegt von Manuela Glaser

Sujets

• Psychologie

Informations

• Publié par: eberhard_karls_universitat_tubingen
• Publié le: 01 janvier 2010
• Nombre de lectures: 21
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

Hybrid Documentary Formats:
How Narrative Elements in Archaeological Television Documentaries
Influence Processing, Experience, and Knowledge Acquisition






Dissertation
der Fakultät für Informations- und Kognitionswissenschaften
der Eberhard-Karls-Universität Tübingen
zur Erlangung des Grades eines
Doktors der Naturwissenschaften
(Dr. rer. nat.)




vorgelegt von
Dipl.-Psych. Manuela Glaser
aus Ochsenhausen

Tübingen
2010





















Tag der mündlichen Qualifikation: 05.05.2010
Dekan: Prof. Dr.-Ing. Oliver Kohlbacher
1. Berichterstatter: Prof. Dr. Stephan Schwan
2. Prof. Dr. Dr. Friedrich Hesse




For my parents.



















Acknowledgement
I would like to thank Prof. Dr. Dr. Friedrich Hesse and Prof. Dr. Stephan Schwan for giving
me the chance to work at the Knowledge Media Research Center. I would also like to thank
Prof. Dr. Stephan Schwan as well as Dr. Bärbel Garsoffky for their excellent professional
advice and support in developing the present work. Further thanks go to the student research
assistants Natalia Adamski, Sandra Alpers, Hannah Bässler, Sarah Baur, Mareike Kehrer,
Kathrin Stalder, and Christina Titze for assisting me in conducting the studies and analyzing
the research data. I would also like to thank Sebastian Groteloh for his generous help with the
technical arrangements which I needed for the present work. Thanks also to Martin Reichert
and Volker Lamm from the Vereinigte Lichtspiele Tübingen, who made it possible that the
studies could be conducted at the cinema Museum in Tübingen. Special thanks go to my
friends whoe were also working at the Knowledge Media Research Center during the
development of the present work. Sonja Weigand introduced me to Prof. Dr. Stephan Schwan
and therefore made the present work possible in the first place. I will be always grateful for
this. Jörn Töpper has become a friend of mine during the work in the open-plan office, and I
would not want to miss this experience. I would like to thank the two as well as Vera Bauhof
for accompanying me through the development of the present work, for listening patiently to
me and for giving me advice. Special thanks go to Prof. Dr. Stephan Schwan who advanced
me not only professionally but also boosted my enthusiasm for archaeology, history and art by
his own ardor for these issues. This is very valuable and joyful to my life.





Contents
1. Introduction....................................................................................................................................................... 7
2. Classical and Hybrid Documentary Formats ............................................................................................... 10
3. Narrative Elements in Hybrid Documentary Formats and Possible Influences on Knowledge
Acquisition............................ 18
3.1 Dramatization in Hybrid Documentary Formats ........................................................................................ 18
3.2 Emotionalization in Hybrid Documentary Formats ................................................................................... 23
3.3 Personalization in Hybrid Documentary Formats ...................................................................................... 27
3.4 Fictionalization in Hybrid Documentary Formats 31
4. Models of Narrative Comprehension and Engagement............................................................................... 36
4. 1 The Model of Narrative Comprehension and Engagement (Busselle & Bilandzic, 2008)........................ 36
4.2 The Transportation Imagery Model of Narrative Persuasion (Green & Brock, 2002) ............................... 42
5. Processing Expository and Narrative Material ............................................................................................ 48
5.1 Differences in Processing Expository and Narrative Material ................................................................... 48
5.2 Processing the Combination of Expository and Narrative Formats: The Capacity Model of Children’s
Comprehension of Educational Content on Television (Fisch, 2000).............................................................. 55
6. Conclusion and Deduction of Hypotheses..................................................................................................... 61
7. Study I: Influence of Visualizing Fictionalization on Narrative Experience with Archaeological
Television Documentaries................................................................................................................................... 68
7.1 Method ....................................................................................................................................................... 70
7.2 Results......................... 76
7.3 Discussion................... 77
8. Study II: Processing of and Experience and Knowledge Acquisition with Archaeological Television
Documentaries..................................................................................................................................................... 84
8.1 Method........................ 86
8.2 Results......................... 91
8.3 Discussion................... 94
9. Control Study: Ruling Out Alternative Explanations for the Narrative Distance Effect....................... 101
9.1 Method ..................................................................................................................................................... 101
9.2 Results....................... 102
9.3 Discussion................. 103
10. General Discussion....... 104
Summary............................. 115
Zusammenfassung.............. 117
List of Figures..................... 119
List of Tables ..................................................................................................................................................... 120 Bibliographical References............................................................................................................................... 121
Filmographical References 133
Appendices.......................... 136
Appendix A: Description of the Television Series and the Three Episodes Used as Research Material ....... 136
Appendix B: Experimental Conditions in Study I.......................................................................................... 140
Appendix C: Expert Rating about Filmic Quality of the Films in the Different Experimental Conditions in
Study I ............................................................................................................................................................ 143
Appendix D: Questionnaires Used in Study I (Exemplary for the Film about Hattusa)................................. 144
Appendix E: Questionnaires Used in Study II (Exemplary for the Film about Hattusa)................................ 166
Appendix F: Items and Answers of the Knowledge Acquisition Tests Used in Study II............................... 185
Appendix G: Questionnaire about the Understanding of the Entertainment Instruction in Study II
(Exemplary for the Film about Hattusa)......................................................................................................... 190

1. Introduction 7
In recent years, new hybrid television formats combining documentary and entertaining
narrative contents and presentation styles have emerged, e.g., docu-dramas, docu-soaps, and
documentaries with re-enactment scenes. Previous classical documentary formats mainly
focused on informing the audience, e.g., about scientific contents, thereby fulfilling their
educational mandate. It was assumed that the motivation of the recipients to watch a
documentary depends mainly on their interest in the topic of the documentary as well as on
reliable presentation of authentic contents. The new hybrid documentary forms want to
entertain their viewers more in order to enhance interest and attract new target audiences.
Therefore, entertaining narrative elements such as dramatization, emotionalization,
personalization, and fictionalization are implemented into the documentaries – sometimes
resulting in controversial discussions, as was the case with documentaries by the German
journalist Guido Knopp (Kansteiner, 2003). Especially plausible fictionalizations are
contentious in television documentaries from which the audience expects true facts. Because
of this topicality and the incertitude about the consequences, it is worth examining these
hybrid documentary formats psychologically with regard to their goals of bringing scientific
contents closer to the viewers, making these contents understandable and leading to lasting
knowledge acquisition.
The present work first introduces characteristics of classical and hybrid documentary
formats, thereby identifying the narrative elements used in hybrid documentary formats:
dramatization, emotionali