Audiovisual fascination tolerance in the Malaysian television material distributions
Common viewers heavily rely on dialogue listening to understand talking television content and visibly squint for better hearing during screen time. Thus, reading subtitles “to listen” requires viewer interactions to address the issues underpinning unfamiliar spoken words. This study, which used the...
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| フォーマット: | 学位論文 |
| 言語: | English English |
| 出版事項: |
2023
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| 主題: | |
| オンライン･アクセス: | https://etd.uum.edu.my/10902/1/s824978-01.pdf https://etd.uum.edu.my/10902/2/Depositpermission_s824978.pdf https://etd.uum.edu.my/10902/ |
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| 要約: | Common viewers heavily rely on dialogue listening to understand talking television content and visibly squint for better hearing during screen time. Thus, reading subtitles “to listen” requires viewer interactions to address the issues underpinning unfamiliar spoken words. This study, which used the cognitive load theory (CLT), cognitive theory of multimedia learning (CTML), and semiotic modes multimodal approach as a framework, revealed a better substitution of sound effects, narration, and subtitle works in an individual’s cognitive system by reducing. These elements were compared against music substitution. Based on the study, listening to a dialogue per se and disruptive fancy music proved less significant to the universal audience reception and definition through dialogue and music. The current work used quantitative approaches of percentage, mean, and mode. The variable (XN, MN, XS, MS, SN, MNS, and XNS) correlations were analysed using ANOVA and the Tukey Post-Hoc test. Notably, the instrument quantified the disruption resulting from sound against subtitles (Q2) and competition among extraneous and intrinsic (Q3), which embraced change to the audience’s cognitive system. Both male and female students and civil servant officers (n = 112) from various disciplines were selected as study samples. Resultantly, sound effects reflected a lower cognitive disturbance against subtitles and narration. Competition between extraneous and intrinsic was also lower for sound effects to be worked with subtitles and narration. Industry players should focus on the concept of sound effects-verbal sound information-subtitle semiotic modes with emphasis on theambient sound recording on filming for the audio split channel. |
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