LEAD-ME: Leading Platform for European Citizens, Industries,
Academia and Policymakers in Media Accessibility (CA19142).
COST: European Cooperation in Science and Technology.
I'm very pleased to welcome our first speaker,
a founding member of ColNet.
She is Jennifer Lertola.
She holds a PhD from the National University of Ireland
and is an English Junior Assistant Professor
at Universitŕ degli Studi del Piemonte Orientale, in Italy.
Her main research interests include
AVT, foreign language teaching, e-learning and distance learning.
She wrote the book AVT in the Foreign Language Classroom:
Applications in English Teaching and Other Foreign Languages,
published in 2019 by Research-publishing,
and various papers on AVT and language learning.
She's an editor of the journal Translation and Translanguaging
in Multilingual Contexts, published by John Benjamin.
She's also co-editor alongside
Laura Incalcaterra and Noa Talaván
of the Benjamin's current topics
"AVT in Applied Linguistics: Educational Perspectives".
She joined in international projects, including ClipFlair,
funded by the Lifelong Learning Program,
and is part of ARENA,
Accessibility, AVT, Language Learning
teaching innovation group, and TRADIT,
Didactic AVT research group at the UNED.
The TRADIT research group is currently carrying out
the research project TRADILEX. She will talk about it today.
This is a research and innovation project
funded by the Spanish Ministry of Science and Innovation.
After the seminar, her speech,
you can comment and ask questions.
Please raise your hand on Google Meet to participate,
or write on the chat.
I'll be moderating that part of the session.
Thank you, Jennifer.
You can start when you're ready.
Thank you. One second.
I'm going to share my screen.
Let's see if everything works.
I will be watching at the screen.
I'm afraid I won't see your comments, but, as Blanca said,
we've time for questions.
I'd like to thank all of you for being here
and for your interest in this presentation.
I'd like to thank ColNet and Blanca
for organizing this wonderful event
and the Universitat Pompeu Fabra for hosting the event.
I see many colleagues and friends. I'm very glad you're here.
I'm pleased to present this exciting project.
I'd say we can start.
The presentation will focus on the project.
I'd like to give you some information about AVT as a didactic resource
in language learning.
I will focus on didactic subtitling and dubbing,
the most used AVT modes in the language classroom.
We will have a look at the state of the art
and a recent survey on teacher's view on didactic AVT.
We will talk about the context in which TRADILEX was developed
and, in particular, EU-funded projects like ClipFlair.
I will talk about the local context in which TRADILEX was designed,
which is at the UNED,
the teaching innovation project in Spain, the project and the aims.
You'll see the website to meet the team,
and see its main features,
the resources already available and official resources in progress.
I'll briefly mention the dissemination action
and I'll provide the description of a didactic sequence
and a sample of one didactic sequence we have prepared.
Then, I'll show you the references.
This presentation is recorded and, if you need the PowerPoint,
I can provide it to you.
I'm glad that Noa Talaván is here.
She's the coordinator of the project and is doing a great job.
So...
Let's move on.
As I said, we're talking about AVT as a didactic resource.
There's a great deal of research on the use of,
let's say, passive AVT in foreign language learning.
Mainly the use of subtitled material has been proved by several studies
and here you have just a few.
Over the last 20 years, this changed
to the active engagement of language learners
through AVT tasks.
This potential has been recognised by European institutions,
as well as scholars were focused on different aspects of AVT.
In particular, both captioning,
what we define as written language transfer procedures,
and revoicing, oral language transfer procedures.
Let's have a look and see how we can use
AVT in foreign language learning.
Of course, we can have interlingual,
when we have a transfer from one language to another.
That means there's a translation
we've as in normal AVT standards,
from L2 to L1,
second language to first language.
Then, we usually use reverse.
Learners can benefit from a transfer from L1 to L2.
Of course, we can have intralingual, so we move from the same language.
We can also have intersemiotic, we move from non-verbal input to L2.
Concerning the two main descriptions of captioning and revoicing,
I'm going to show you
which are the most used AVT modes in foreign language learning.
We usually talk about subtitling and that has been used widely
as interlingual and intralingual.
But also, more recently,
there was a proposal by Talaván
about using SDH subtitles.
This proves particularly useful,
as they learn to provide paralinguistic information:
sounds, tones of voice, music, etc.
This also fosters learners
audiovisual accessibility awareness.
Talaván has recently talked about creative subtitling,
and we know creative subtitling as fansubs or fake subs
has also been discussed by Díaz Cintas.
In language learning, students are asked to create subtitles freely
for the audiovisual input, and this helps,
apart from language skills,
also, to develop creativity
and to be able to interact the video in a more creative way.
For what concerns revoicing,
we also have different AVT modes.
Indeed, the most used and studied was dubbing.
Once again, as in case of subtitling: intralingual, interlingual dubbing.
More recently, Talaván has proposed creative dubbing,
and that is the same or similar to creative subtitles.
Students can be creative and create a new script, and usually,
it has been used with a humorous purpose.
Students seem to enjoy it very much.
One positive aspect of creative dubbing...
Talaván suggested that it can be used with even lower-level students,
because they can really freely create a new script
and use the language as much as possible.
So, that is really one positive point of creative dubbing.
We also have audio description, which has also been used
quite a lot recently in different contexts,
voice-over, which is more limited, and free commentary,
once again quite limited used.
I'll show you in the state of the art in some proposals.
I would like to show you here
examples of applications of didactic subtitling.
This is a 2020 proposal by Talaván.
These are the combinations of we were talking about before:
interlingual, intralingual, SDH, keyword captions and creative.
You have the direction of languages
and the suggestion for which level of proficiency
they can be effectively used.
Same here for dubbing.
You can have interlingual reverse,
intralingual, same language, or creative dubbing.
Here are the suggestions to use with different levels of proficiency.
I would like to briefly focus on basic norms for didactic AVT.
We're talking about it
in the previous meeting with the ColNet's members.
This is an application of AVT,
so we aren't training professionals to be AVT experts,
but they need to profit from AVT in terms of language learning.
We take the professional norms of subtitling, dubbing
and other AVT modes and we use them for language learning.
These are basic AVT guidelines.
In the case of subtitling, if the translation is needed,
the quality should be high.
That's what we give to learners before they start the practice.
We insist that the register should be appropriate,
the dialogue should be condensed,
and this can be done by avoiding obvious repetitions.
Then again, each subtitle should be meaningful and self-contained.
That's probably something they learn over time
because they are used to watching subtitles,
but create their own is not that easy as it might seem.
The subtitle should be on a maximum of two lines,
and it's relevant to be in blocks of meaning
and/or grammatical units.
Of course, there are time and space constraints.
Sorry.
They should stay one-second minimum and seven maximum.
We insist on the fact that, as far as possible,
even not professionals, subtitles should be synchronized.
And then of course, in terms of language,
we usually point out that they should be grammatically correct,
and they should use punctuation,
which is something they tend to forget when subtitling.
Probably because they're busy focusing on many aspects.
For what concerns dubbing,
we usually recommend them to rehearse the dialogue beforehand
and pay particular attention to the following aspects:
speed of speech; synchronization between lips movement and dialogue,
one of the most challenging aspects of dubbing for them,
but also, one of the things they enjoy the most;
and pronunciation.
The repetition of a listening
of the original audiovisual input and then rehearsing the dialogue
is really helpful in that sense.
They can also focus on intonation,
and characterisation or dramatization.
So, they need to imitate the actor's performance.
We suggest them that, if necessary, repeat the same phrase several times.
That usually proves very helpful.
And then, of course, as in subtitling,
they need to respect, if possible,
the time constraints.
That is also one challenging aspect of dubbing.
Then, Talaván (2020)
provided a sample assessment rubric for didactic subtitling.
As you can see here, the criteria
and how a teacher can read the student performance.
Same for didactic dubbing,
there are aspects we mentioned in the AVT basic norms.
I would like to give you an idea of what has been done
as for research on captioning.
In a recent state of the art published in 2019,
we can see many publications, but this is just a sort of synthesis.
Just the aspects I've been studying the most.
We are talking about standard and reverse interlingual subtitling.
Scholars focused on listening comprehension,
writing skills,
vocabulary acquisition,
also integrated language skills.
There was one strand of research on intercultural education
and also, on pragmatic awareness.
These studies that I've mentioned are all experimental studies,
so they collected data for analysis
in terms of qualitative and quantitative analysis.
Concerning intralingual subtitling,
scholars focus mainly on writing skills.
More recently, as I've mentioned,
SDH subtitles have been used in language learning
for integrated skills.
The focus was on written production and listening comprehension.
We have to say that subtitling has also been used
in CLIL, Content and Language Integrated Learning,
and in bilingual education context.
Concerning captioning...
Sorry. For what concerns… It's not moving.
...revoicing, still from the state of the art,
we can have an idea of what was done on intralingual dubbing.
I added some more references that are more recent.
Scholars have focused on speaking skills,
and, for what concerns interlingual dubbing,
it's more limited,
but the focus was on speaking and writing,
because they have to prepare the script and the translation.
As I've mentioned, Audio Description reached the attention of scholars,
especially over the last ten years.
There's a great deal of research
on vocabulary acquisition,
oral, writing, and integrated language skills.
These are the experimental studies, but also more descriptive studies
on the use of Audio Description.
As I've said before, voice-over is more limited.
There's actually one recent study on speaking skills
and a forthcoming publication on the use of free commentary
in vocational educational training.
That look at the development of speaking skills.
To provide you with a synthesis of the state of the art,
we can say that English is one of the two languages involved
in most of the studies, and usually the target language learned.
We can say that, usually, experimental studies
have been carried out in face-to-face context
in higher education.
Of course, they are not big studies
but they involve at least a minimum of ten participants
and the language level usually ranges from A1 to C1,
being a B1 and B2 the most common.
We can also see from the state of the art
that the audiovisual input employed in experimental studies
is either a movie or a sitcom excerpt,
which prove to be more entertaining and motivating for students.
Regarding subtitling software,
we talk about studies carried out over the last 20 years,
the software was Learning via Subtitling,
ClipFlair, Subtitle Workshop and Aegisub.
Concerning revoicing,
ClipFlair, which has proved to be a great revoicing software.
Another one that was commonly used was Windows Movie Maker,
and the VISP mobile app for Audio Description.
As I've said at the beginning, I'm going to talk about a survey
carried out through an online form
in 2018 by Alonso-Pérez and Sánchez-Requena.
I think it is interesting as it gives an idea of what has been done
and what teachers expect to be able to integrate
Audiovisual Translation in their language classroom.
The questionnaire involved 56 teachers from 15 countries,
mainly in higher education.
That resembles the situation of experimental studies anyway.
The teachers usually...
The subject taught was either English or Spanish,
was in face-to-face context and to intermediate-level students.
Teachers said that they used all the AVT modes.
As expected, subtitling and dubbing were the most used,
79% and 41% respectively,
but also, as we can see, AD, SDH, voice-over and free commentary.
The combinations were both interlingual and intralingual.
Which were the positive aspects according to teachers?
The AVT tasks, according to them,
were useful to develop several learning aspects.
What we've mentioned before,
which were the target
or focus of the experimental studies: listening, vocabulary acquisition,
intercultural awareness, motivation, and oral and written production.
But teachers, I think that's very interesting,
mentioned negative aspects, also highlighted in the literature.
Of course, preparing AVT tasks is time-consuming,
very time-consuming.
There's a heavy reliance on ICT for both teachers and learners.
Teachers complained about the absence of evaluation guidelines.
We can see that the study was published in 2018.
What I showed you before
were the evaluation guidelines
provided in 2020 by Talaván.
There's been a lot of work in the meantime,
but we need to take it into account.
What about future perspectives? What do they think?
Teachers are positive.
We can see as much as 55% of them
believe that AVT tasks could be flawlessly integrated
into the foreign-language curriculum and be done face-to-face and online.
What teachers called for is actually proper training
on AVT in foreign language learning.
They want a common ground
on the selection and assessment of AVT material.
So...
In the past, there were two great EU-funded projects.
The first and ground-breaking one was Learning via Subtitling,
funded by the European Commission
from 2006 to 2008
and involved five European universities.
From that project, there was a follow-up,
which was ClipFlair.
Lifelong Learning Program project
was developed between 2011 till 2014,
and there were as many as ten European universities.
The main outcome of the project was this platform,
which is still running.
This platform, as you can see,
includes the video
and the captioning and revoicing components.
Students could create the subtitles and also do the voice-over
of the synchronised language input.
There are useful components for carrying out the activity.
One of the main objectives of ClipFlair
was the integration of captioning and revoicing.
So...
There were 15 languages involved within the project
and ClipFlair, as I've mentioned, was successfully tested
in several experimental studies, and both in face-to-face,
online and blended learning context.
Unfortunately, recently,
Mac users have found problems
opening the studio,
and, also, for Windows with the shift
to Windows 10.
The installation of Mac or Silverlight,
one of the main components of the ClipFlair studio,
gave some problems.
But there's another way around to be able to open it.
Anyway,
it was a great project and I'm glad I was part of it.
Now...
This is what has been done.
As you can see...
The project I'm going to talk about, TRADILEX,
I'll talk about it in a second,
was developed at the UNED.
This is, as you can see, the activity at the UNED from 2009
about the development of educational innovation projects
related to Audiovisual Translation.
Most of them were published
by members of the teaching innovation group
that is called ARENA,
and these are the most recent teaching innovation projects.
We're busy with the preparation of one which is about to start,
the vocal project, voice-over and language learning.
Many members of the ARENA group are actually in the TRADILEX project.
As you can see and as Blanca said at the very beginning,
this is an I+D+i project
funded by the Spanish Ministry of Science and Innovation.
The duration of the project is from 2020 to 2023.
At the moment, we are 20 members involved in the project.
There are people from Spanish and international universities.
Which are the project objectives?
The main objective is to determine the improvement in the L2
promoted by didactic AVT.
It'll be mainly English as a foreign language,
but also other languages.
To this purpose, a methodological proposal
for a didactic AVT sequence has been prepared,
and this includes a complete lesson plan
which uses different AVT modes.
This methodology will be piloted
with B1-and-B2-level learners,
and the experimental phase will take place
in the university language centers, mainly in the Spanish institutions,
over a duration of five months.
What is included in this AVT sequence?
There will be three lessons plans
for each of these five AVT modes.
We'll have subtitling, voice-over, dubbing, audio description,
and subtitles for the deaf and hard of hearing.
So, the project has a website
and you can actually meet the members of the group,
and get news about events and dissemination
of the project on the website.
I would like to mention to you
which are the resources already available.
The team has actually worked
actively on preparing
more than 400 references on didactic AVT,
and they were published on Mendeley, in a public group.
It changed the policy in December, so it is a private group now,
but references will be soon available on the project website.
In the meantime,
it was also organized a course on educational research,
and I highly recommend you to visit the project website
and check the course because it's actually available.
It's in Spanish.
It has been very useful, and it will be for you too.
For resources in progress,
it is planned to,
we plan to publish a manual of good practices
on the use of didactic AVT.
It will be useful for teachers, they need a common ground,
and we should provide that to them, and also for researchers.
One main objective of the project is to have an online platform
where teachers, students and researchers can use
AVT lesson plans that we will design
within the project.
We also plan to have a MOOC,
a Massive Online Opened Course, at the UNED about the project,
and summer courses in the future,
before the end of the project,
also available at the UNED.
I'm going to show you a description of the didactic sequence.
As I've said, it will be over five months,
it will be online,
and the content of this didactic sequence
is actually 15-60-minute lesson per level of students.
We said we're going to have both B1 and B2 level students.
There will be 15 extra lesson plans with different videos,
but, of course, following the same sequence structure.
And so, we'll have a total of 30 out of 60 lesson plans per level.
We will have the five AVT modes I've already mentioned
and there will be three of each of them.
And the learning outcomes?
First of all, to develop audiovisual mediation skills,
to develop reception and production skills,
but also, grammar, lexical and intercultural competence
and to enhance transferable ICT skills.
And one of the aims is also
to promote creativity, which is one motivating aspect
of learning a foreign language.
Concerning the role of learners and teachers,
we ought to promote learners' critical thinking
and online L2-reception,
production and mediation, and ICT.
And the role of the teacher will be
that of facilitator.
They will be specifically-trained to do so.
In the experimental phase,
they will create the online groups within the language center,
present the didactic sequence,
and follow the instructions that research members provided them.
They...
We'll monitor the learners weekly.
They should check that a task is completed within the time frame
and motivate learners to complete it because it's an online activity.
Students will be learning together but carrying tasks individually.
They will be available to solve specific issues,
and there will be the research team available to help the teachers.
I show you here a sample of a didactic sequence.
As you can see here, we have the Common European Frame of Level.
This is the very first session, just to give you an idea.
It's a taught for B1 learners.
We selected a short video extract.
It's actually a short film
called "The worst that could happen".
It's available on the YouTube channel of the project.
The function of the didactic sequence is socialising,
the AVT mode we selected is subtitling, and, in this case,
as it is the first time they use it,
it's interlingual keyword subtitling to insert only the missing keyword.
The aim is to introduce students to subtitling.
They can do these lesson plans more easily.
And, in this particular case, because of the audiovisual inputs,
they should practise requests and invitations.
This is the lesson plan overview so you can have a look,
and this is going to be repeated for the different AVT modes.
Remember that we are working with learners
that should carry out the activity online on their own.
We decided for them to dedicate about ten minutes to the warm-up,
and in this case, they have both reception and production task.
We include writing, reading and mediation.
We anticipate the video content,
prepare the vocabulary for the actual viewing,
and gather the necessary background information
to face the didactic task.
Concerning the video viewing,
it will take only about five minutes.
They will listen but also mediate with the audiovisual input.
We ask them...
to watch the audiovisual input with Spanish subtitles twice,
paying attention to subtitling condensation.
The objective is to understand the message to be subtitled
and to get familiar with the key linguistic content.
The actual core part of the task is didactic subtitling.
In this case, there will be involved both listening and writing skills.
They should get familiar with the subtitling editor
and they should complete the keyword within the subtitles.
They will mainly work on audiovisual mediation skills
but also on lexical competence.
To conclude the activity,
they will dedicate 15 minutes to the post-AVT task,
which is a related writing task to practise the video elements.
This is aimed at making the most of the linguistic content.
We've been working on the production of the lesson plan.
For now, we are working with Google,
and we produced the lesson plan in Google Form.
This a sample to see how it looks like.
In this case, as we said, the warm-up they should prepare for the AVT task.
So there's a number of activities that they need to focus on.
For example, this video was about
asking somebody out for lunch,
so we will focus on that.
They will also work on mediation, so they have to read sayings
like "You are my happy place" and translate them.
We invite them not to translate them word by word
but to look for a phrase that could mean the same in Spanish.
As for the video viewing,
the video is embedded in the form,
on the TRADILEX YouTube channel,
and they need to have an active video watching.
They should focus on the gap between
the oral language input and the written language input,
which means the audio, dialogue and subtitles.
Then, move on to the didactic subtitling
for the 30 minutes allocated,
and download the clip.
Everything is on Google Drive. It's easy to download and work on.
In this case, we suggested a subtitling editor
that usually works fine for Mac and Windows,
but we also suggest Subtitle Edit.
They need to produce the keyword intralingual subtitles,
and then, submit the activity by uploading their file here.
We are going to have many learners involved into project,
in the experimental phase.
We also have... Each activity is coded.
For example, lesson plan, subtitling 1, level B1.
They need to provide their student code.
We found an effective way
to code the students and collect the results.
These are the references.
I hope I respected the time constraints.
Thank you for your attention. I'm happy to answer your questions.
Thank you, Jennifer.
Who would like to ask questions, or make comments?
We have a comment on the chat.
Well, I'll read that loud, just in case.
"Thanks for the talk
and teaching translation and dialogue writing.
I find this is the easiest, but very time-consuming to assess.
The revoicing aspect of dubbing isn't usually assessed in modules.
It's a bit of a bonus fun activity.
Are there assessment criteria for revoicing?
You mentioned Talaván's new guidelines.
Provide the reference, please."
Please raise your hand
and ask by speaking aloud, I mean.
- Well. - Here is the reference list.
I've already asked Blanca
for permission to have the recording
and PowerPoint of this presentation available on the TRADIT website.
- Here is the link. - Hello.
- Hi, Patrick. - Hello Patrick.
- OK. - Well, in regard to references,
if I can blow my own horn,
there's probably a strategic mistake.
That's the ClipFlair progress report,
which although the name doesn't seem very attractive,
it includes a very strong rational for AVT in language learning.
That's in the repository.
I think it has a very detailed part about the combinations of languages,
revoicing, captioning
and activities that could be done.
That's all.
Thank you. Yes, indeed.
ClipFlair is a great reference for all this.
I did include the reference to the state of the art
we have in 2019 since I didn't have space
to include all the references in the slides.
Everything is there too.
Anyone else has questions or comments?
You are not asking questions.
- Can I ask you a question? - Patrick and then Irene.
If I understood well, it's an ambitious project.
You plan to design a whole course
exclusively based on AVT, no other activities or materials.
Isn't it?
Right, it's an ambitious project.
As I said, we are 20 members involved in the project,
and Noa Talaván is doing a great job coordinating all of us.
We actually managed to have several language centers
to join in the experimental phase
and involve teachers and a good number of learners.
So, the experimental phase will be carried out over five months
and there'll be all these sequences.
A didactic sequence as in the sample
I presented to you today,
and the five modes involved.
Students will follow progression by doing these AVT modes
according to their language level.
Irene.
Irene De Higes.
Sorry.
I was thinking maybe, Patrick was...
How do you get the clips, how do you select them?
Are they only films, short films,
short clips of films, short films or TV series?
Can you add some information? Thank you.
Thank you, Irene.
Noa was also typing in the chat for Patrick and the rest.
It's not just a course on AVT, but it's an extra resource.
So, there will be 15 hours in five months.
Each level of students should do the 15 lesson plans,
and the duration of each lesson plan is 60 minutes.
So, that's it.
And... Thank you.
Irene, to answer your question.
So basically, as we said,
it's time-consuming to prepare AVT tasks,
mainly for the audiovisual selection of the clips.
In this case, we decided, all together, to focus, if possible,
on short films and documentaries. It depends on the AVT mode.
Voice-over, for instance. There will be documentaries mainly.
We are trying to find creative common material.
That's not that easy,
especially because we need to find the perfect video.
I mean, the two-minute video that is motivating
and has meaningful language input.
That's not easy at all.
But we also thought that we can use video clips,
I mean, for different AVT modes, if possible.
We are preparing 15 extra activities for the same level.
We have 30 instead of 15.
In case some students can and wish to do further practice.
Thank you.
- Well. And also... Sorry, Blanca. - Don't worry.
The videos are available on the YouTube of the project.
I think Mar wanted to ask a question, but perhaps not anymore.
Yes. My question was similar to the one that Irene asked.
But...
First of all, congratulations on your interesting seminar.
Thank you.
Do you have any criteria for selecting the clips,
but most specifically related to the topics?
I mean, clips on audiovisual humour or cultural aspects.
So...
That was my question.
Thank you, Mar.
That was one of the ideas we brainstormed at the beginning.
To have a fil rouge of the videos.
But we must create many activities and we need more variety,
and it's difficult to find
motivating videos because we need very short videos,
so we proposed two-minute videos.
The AVT task is carried out of only one minute
because it's time-consuming for them to either translate or dub...
Any type of AVT task is quite time-consuming.
Since they are also working online on their own,
that was our decision.
So, there are many different videos.
I saw a few questions in the chat,
- one from Boris. - I'm sorry. I can read them aloud.
Boris Vázquez is asking a question.
"Did you consider drawing inspiration from the fan-made AVT translation?
If yes, how? If not, why not?
Thank you for this presentation."
Thank you for the comments and the question.
For what concerns fan-made AVT translations...
We said that we are happy to include creativity
to the project, because a creative dubbing
or subtitling
has been a recent proposal, and is raising scholars' attention
and especially students'.
In this case... I'm gonna go back to the presentation.
You will have that in front of you. I think is...
here.
I'm going back to the Meet.
What we decided? We decided to include subtitling,
like in this case, intralingual keyword,
but still subtitling.
Voice-over is pure voice-over, dubbing as well.
Usually, we respect the text
and the same for Audio Description and SDH.
But since we are still in sort of
even creativity phase ourselves, the members of the project,
it's something we can consider.
Since we also have Noa Talaván here
to get more impression and suggestion,
we definitely take into account the idea of including creative AVT.
- And then was Ilaria... - Ilaria Parini.
"Are the students involved specializing in foreign languages
or other degree courses?
Are they taking science in English, for example, economics?"
As far as I know, and Noa, in this case, can also add more
because at the moment we are...
The language centers involve
language learners and adults studying languages.
So, they are not really specializing in foreign languages
in terms of a degree in foreign language.
I think we have a great variety of target learners.
OK.
Any further questions?
Thank you.
No.
Thank you.
We have time for one or two more questions.
There's another one. Inmaculada Rosal Bustamante.
"Thanks for the presentation. It's helpful.
Working on a similar study for my final master's thesis,
I was wondering if there were any resources online
for the AVT material input with English grammatical structures
that are used in specific language such as inversions for a C1 level.
It's not easy to find videos with grammatical examples like these.
Thank you so much."
OK.
It's a very specific question, but we like that.
Thank you very much for your question,
and good luck with your final master's dissertation.
OK, Boris suggested Bridgerton, the new Netflix series.
You're asking about AVT material that includes specifical grammar.
I have to say that
it's a bit difficult to find a repository in that sense.
But, for example, if you want to...
I'm gonna paste here the link.
Since ClipFlair is still running,
you can actually...
you can go to ClipFlair and look in the studio.
You actually have... I can't open it because I have a Mac.
But in the studio,
you have the filter and you can put keywords
in case of the video description,
and the activity has what you want.
The suggestion I would do...
When I look for very specific input as you are doing now,
I actually tend to prefer...
You said you are working on,
but you don't specify the AVT modes you are using.
Anyway, if you're gonna use a movie
or a TV series script, I'd go on the Internet.
There are many websites where you can find the script
of the series or movie.
You can open it and then research within the script,
looking for grammatical input, for example, structures you seek.
It's just as simple as find and search within the document.
If you find the script you need,
you should look for
that episode of the series or moment in the film
and check if the script is exactly what is being said.
Actors or dubbers change it a little bit sometimes.
But if you find that in the script, the audiovisual input changes too.
I hope I answered your question.
Which AVT mode are you using since you are on the chat?
OK, subtitling.
OK, thank you.
Inmaculada, If I may add this in my PhD thesis about subtitling,
I conducted a corpus study, and I have examples of inversions.
If you want to contact me afterwards.
It's not that a whole clip has a lot of inversions,
but perhaps I can help you find some examples.
That's great.
Anyone else? We have time for one more question.
That would be an hour, and that would be very good timing.
So, one last question. Anyone?
Aurora.
Aurora Troncoso.
"Thanks for the talk. It's very interesting.
Maybe I've missed it, but are you going to use the data,
the pronunciation in the voicing exercises,
to measure improvement and learning pronunciation improvement?"
Thank you.
Yes. Actually, we have the...
We're lucky, as in our research group involved in the project
we have profiles of different scholars,
and one is an expert in pronunciation.
I'm sure we will focus also on that,
because there will be a good number of teachers
and students involved in the different language centers.
I'm sure that we will gather
many data that we can analyze in terms of also pronunciation.
As I've said, the TRADILEX website,
within the TRADIT group is very up to date.
I didn't mention it, but we also opened a Twitter account
to disseminate the results and everything we do in the project.
The project is going to be finished in 2023,
but the website is very up to date. So, Aurora,
you can keep an eye on the website and see all the outcomes.
- I've just shared it. - Thank you, Blanca.
- Thank you. - Thank you.
I think we could finish here if you agree, Jennifer. Yes?
- Yeah. - OK.
Thank you for your attendance.
You'll know about our next seminars on social networks.
We hope that you'll be there too.
Thank you for this interesting talk. Thank you all.
Thank you, Blanca. Thank you all for being here,
those who watched it online, and for your interest.
You have my email.
That was in the very last.
If you wish to ask me something, here's my email address.
Thank you very much.
Thank you.
COST (European Cooperation in Science and Technology).
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