One more time with feeling: Resemiotising boundary affects for doing 'emotional talk show' interaction for another next first time

Abstract

The semiotic ecology of the live talk show interview. 2. The five interview settings of the live studio. 3. Non-live video footage from the eighties. Chapter 34. Work-relevant objects. 5. A brief introduction to case 1. 6. A brief introduction to case 2. 7. The most prominent participants in case 1. 8. The most prominent participants in case 2. 9. The two-day workflow of the editorial staff. 10. The temporal horizon of experience. 11. Transforming an object. 12. Digitally conformed reality. 13. Figure 12 as seen from above. 14. Preliminary plan for video recording the editorial workflow. 15. Cameras. 16. The Panasonic camera. 17. Audio recorders. 18. Experiencing spatial sound. 19. Master composite file of several video feeds. 20. The 360-degree camera FOV unfolded into "quad"-format. 21. Transcription hybrid 1/2. 22. Transcription hybrid 2/2. 23. Anonymising with Comic Life filters. 24. Handwritten note. Chapter 4 25. Environmentally coupled gesture. 26. 360-degree camera view. 27. GoPro camera view. 28. The whiteboard summary. 29. G1A does the 'shrimp skip' in the eighties. 30. GoPro-camera view. 31. Whiteboard summary. 32. H1B walks by the meeting area. 33. Whiteboard summary 2. 34. J1A's handwritten notes. ONE MORE TIME WITH FEELING 12 35. The research interview questions. 36. The closing question. 37. G1A's answer as summarised by J1A. 38. Eurovision manuscript at 15:16 pm on day one. 39. Eurovision manuscript at 15:41 pm. 40. KNG with dead link. 41. J1A talks to J6A. 42. The two whiteboard summaries. Chapter 5 43. Morning meeting day #2. 44. An interesting question. 45. Whiteboard summary. 46. J1A's tasks added by EDA. 47. The morning meeting setup. 48. J1B's resemiotisation of the morning meeting discussion. 49. EDB, J1B and H2B talk by the coffee machine. 50. H1A, H2A and EDA review the programme schedule. 51. H1A looks at the programme schedule. 52. H1A reproduces with transformation H2A's previous turn. 53. The video editing room screens. 54. The closing question and G1A's answer 55. J1A changes the closing question. 56. PRA and VEA in the video editing room. 57. Editorial meeting with H2A, SMA, H1A, PRA, PCO, PA and EDA. 58. Final review unfolded. Chapter 6 59. The media interview turn-type pre-allocation. 60. The control room. 61. G1A and G2A orient towards the hosts. 62. Introducing the guests. 63. Chains of resemiotisation: The audio-visual resources 64. H1B introduces the sexual harassment interview. 65. Original cue card. 66. A red star on H2B's cue card.67. Chains of resemiotisation: The inappropriate touch. 68. The closing question on H1A's que card. 69. Chains of resemiotisation: The closing question. 70. Different time-scales encircling the cue card. 71. Affective stances with the staff members.1 See Hepburn and Bolden (2017) on how to present non-English data to an English-speaking audience.

Problem Construction in Problem-Based Learning: How Students Deal with Disagreements in Decision-Making

“…By using an EMCA approach within interaction analysis, my focus has been on short instances of interaction chosen for further analysis. However, a criticism, that can be directed towards CA is that few studies within this approach have been occupied with transformations of meaning over time (Back, 2020), as Goodwin also states:…”