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<p class="MsoNormal">Call for abstracts<br>
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<p class="MsoNormal"><b style=""><span style="font-variant:small-caps"><br>
</span></b></p>
<p class="MsoNormal"><b style=""><span style="font-variant:small-caps">Embedding video in online business communication.
</span></b></p>
<p class="MsoNormal"><b style=""><span style="font-variant:small-caps">The multimodal analysis of corporate video as an interactive and discursive process</span></b></p>
<p class="MsoNormal"><b style=""> </b></p>
<p class="MsoNormal"><b style=""><br>
</b></p>
<p class="MsoNormal">Panel to be held in conjunction with GABC 2013 – <i style="">
Global Advances in Business Communication</i></p>
<p class="MsoNormal">University of Antwerp, 29-31 May 2013</p>
<p class="MsoNormal"><b><br>
</b></p>
<p class="MsoNormal"><b> </b></p>
<p class="MsoNormal"><span style="">P</span>anel convenors: Paul Sambre and Geert Brône (University of Leuven, Belgium)</p>
<p class="MsoNormal"><br>
</p>
<p class="MsoNormal"><br>
</p>
<p class="MsoNormal"><b style="">Topic</b></p>
<p class="MsoNormal">In the digital era of web 2.0, genre studies have focused increasingly on the emergence of new multimodal genres next to traditional, written ones. In this panel, we zoom in on web-based video communication as a particular discursive locus
of interaction between discourse and technology, through combined modi as varied as text, speech, image, graphics, sound, music and other semiotic resources for setting up interpersonal and interdiscursive relations with social actors or voices within and
outside the organization. The use of video in web-based communication raises questions about its status as a product, process and practice in integrated institutional organization, both corporate and public. The panel explicitly addresses a range of research
questions pertaining to this multimodal development: <span style=""> </span></p>
<p class="MsoListParagraphCxSpFirst" style="margin-left:18.0pt; text-indent:-18.0pt">
<span style=""><span style="">1.<span style="font:7.0pt "Times New Roman"">
</span></span></span>Comparative analysis and genre classification of video and conventional or other web-based genres in corporate communication</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt; text-indent:-18.0pt">
<span style=""><span style="">2.<span style="font:7.0pt "Times New Roman"">
</span></span></span>Methodological and theoretical challenges for a multimodal analysis of corporate videos as product, process and practice</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt; text-indent:-18.0pt">
<span style=""><span style="">3.<span style="font:7.0pt "Times New Roman"">
</span></span></span>The analysis of interactional and interdiscursive relations in corporate video
</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:54.0pt; text-indent:-18.0pt">
<span style=""><span style="">a.<span style="font:7.0pt "Times New Roman"">
</span></span></span>Interactional relations within the setting of the video</p>
<p class="MsoListParagraphCxSpLast" style="margin-left:54.0pt; text-indent:-18.0pt">
<span style=""><span style="">b.<span style="font:7.0pt "Times New Roman""> </span>
</span></span>Interdiscursive relations between a video file and other external semiotic resources</p>
<p class="MsoNormal"><br>
</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><b style="">Research Background</b></p>
<p class="MsoNormal">The panel invites contributions that tie in with following lines of research in (applied) linguistics, pragmatics, discourse studies, communication research and (multimodal) corpus linguistics:</p>
<p class="MsoNormal"><br>
</p>
<p class="MsoListParagraphCxSpFirst" style="margin-left:18.0pt; text-indent:-18.0pt">
<span style=""><span style="">1.<span style="font:7.0pt "Times New Roman"">
</span></span></span>Different authors have stressed the notion of genre change in a rapidly evolving technological world (Garzone, Catenaccio, Degano 2012), referring both to evolution of previously existing ones and the emergence of new hybrid genres (Garzone
2012, Djonov et al. 2013). The study of the status and change in video communication largely remains an open question.<br style="">
<br style="">
</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt; text-indent:-18.0pt">
<span style=""><span style="">2.<span style="font:7.0pt "Times New Roman"">
</span></span></span>Digital media and web communication are interesting, as they frequently combine conventional written information with other semiotic modes in a flexible way: electronic media in this respect cross-fertilize with spoken media and visual
information, like body posture, gesture and intonation (Levine and Scollon 2004). In web-based communication, the use of video interacts, on an interdiscursive level, with different conventional and new types of textual, graphical and communicative genres
in web environments.<br style="">
<br style="">
</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt; text-indent:-18.0pt">
<span style=""><span style="">3.<span style="font:7.0pt "Times New Roman"">
</span></span></span>Video is a locus of corporate identity, displaying and building relations between organizations. Internal or external stakeholders are displayed, articulated and co-constructed in videos: we are interested in the way video sets up this
discourse community (Swales 1990, Kress and Van Leeuwen 2006), e.g. in a CEO’s mission statement or comment on the annual report.<br style="">
<br style="">
</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt; text-indent:-18.0pt">
<span style=""><span style="">4.<span style="font:7.0pt "Times New Roman"">
</span></span></span>Video interactivity, conceived of as occurring within videos and between video and other media (like social ones), challenges linguistic and discursive views on interaction on different levels (McMillan 2006): as
</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:54.0pt; text-indent:-18.0pt">
<span style=""><span style="">a.<span style="font:7.0pt "Times New Roman"">
</span></span></span>a face-to-face interactive process between participants in a video sequence (e.g. corporate video interview) (Thibault 2008, Heath et al. 2010),</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:54.0pt; text-indent:-18.0pt">
<span style=""><span style="">b.<span style="font:7.0pt "Times New Roman""> </span>
</span></span>a channel connecting users synchronously (e.g. the use of Skype in videoconferencing) or asynchronously (e.g. video resumes, corporate address) (Tan 2010),</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:54.0pt; text-indent:-18.0pt">
<span style=""><span style="">c.<span style="font:7.0pt "Times New Roman"">
</span></span></span>the re-elaboration of corporate information by other video users in web-based communication like discussion fora, weblogs, instructional videos, social media and online helpdesks, to name but a few (Kress 2010: 45 and 121, Adami 2009, Bateman
2012, Bateman and Schmidt 2011).<br>
<span style=""> </span></p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt; text-indent:-18.0pt">
<span style=""><span style="">5.<span style="font:7.0pt "Times New Roman"">
</span></span></span>From a theoretical perspective, multimodal analysis is rooted primarily in systemic-functional grammar. Classification of video genres implies formulating answers concerning the macro- and micro-structural functions, moves and constructions
used in video communication, and the added value of video in the media-mix (O’Halloran 2008, 2011).<br style="">
<br style="">
</p>
<p class="MsoListParagraphCxSpMiddle" style="margin-left:18.0pt; text-indent:-18.0pt">
<span style=""><span style="">6.<span style="font:7.0pt "Times New Roman"">
</span></span></span>The multimodal character of corporate video, not only as a product, but also as a mediated process and creative practice of communication (Bhatia 2012) may open up interesting theoretical perspectives as to the complementarity between functional,
cognitive, pragmatic and critical views on language, where language, communication and discourse appear as factors of (re)contextualization, adaptability and glocalization (Auer 2009, Bhatia, 2010, Verschueren 1999, Blommaert 2010, Fairclough 2009, Sambre
2012).<br style="">
<br style="">
</p>
<p class="MsoListParagraphCxSpLast" style="margin-left:18.0pt; text-indent:-18.0pt; background:white">
<span style=""><span style="">7.<span style="font:7.0pt "Times New Roman"">
</span></span></span>Video-based analysis requires methodological reflection on the methods, techniques and tools for multimodal analysis (Jewitt 2011, Baldry and Thibault 2005), i.e. annotation (Bateman, Delin & Henschel 2004, Brône & Oben fc.), concordances
(Baldry 2007, Baldry and Thibault 2008), protocols, questionnaires and peer-assessment (Van Leeuwen 1998, Morell et al. 2012), ethnographic work on video production and reception (Kress 2011), and other qualitative and quantitative methods used in the vast
and multifaceted domain of visual studies and visual semiotics (O’Halloran 2004, Van Leeuwen 2011, Jewitt and Oyama 2001).</p>
<p class="MsoNormal"><br>
</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><b style="">Practical information</b></p>
<p class="MsoListParagraphCxSpFirst" style="text-indent:-18.0pt"><span style=""><span style="">-<span style="font:7.0pt "Times New Roman"">
</span></span></span><b style="">- </b><span style="">Abstracts</span><span style="">:</span><b style="">
</b>max. 500 words, to be submitted via the central conference submission system. All abstracts will be subjected to a double blind reviewing procedure by the ABC scientific committee and the panel convenors. For more details, see:
<a href="http://www.ua.ac.be/main.aspx?c=.GABC2013&n=110223" target="_blank">http://www.ua.ac.be/main.aspx?c=.GABC2013&n=110223</a></p>
<p class="MsoListParagraphCxSpMiddle">When submitting the abstract, please indicate the panel for which the abstract is intended (PANEL: VIDEO IN BUSINESS COMMUNICATION)<span style="">
</span></p>
<p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt"><span style=""><span style="">-<span style="font:7.0pt "Times New Roman"">
</span></span></span><b style="">- </b><span style="">Submission deadline:</span><b style="">
</b>24 January 2013</p>
<p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt"><span style=""><span style="">-<span style="font:7.0pt "Times New Roman"">
</span></span></span><b style="">- </b><span style="">Notification of acceptance:</span><b style="">
</b><span style="">15 February 2013</span></p>
<p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt"><span style=""><span style="">-<span style="font:7.0pt "Times New Roman"">
</span></span></span><b style="">- </b><span style="">Practical questions?</span><b style=""> <span style=""></span></b>Please contact the panel convenors:</p>
<p class="MsoListParagraphCxSpMiddle"><b style=""><span style=""> </span></b>Paul Sambre (<a href="mailto:paul.sambre@arts.kuleuven.be" target="_blank">paul.sambre@arts.kuleuven.be</a>)</p>
<p class="MsoListParagraphCxSpLast"><span style=""> </span><span style="" lang="NL-BE">Geert Brône (</span><a href="mailto:geert.brone@arts.kuleuven.be" target="_blank"><span style="" lang="NL-BE">geert.brone@arts.kuleuven.be</span></a><span style="" lang="NL-BE">)
<span style=""> </span><span style=""> </span></span></p>
<b style=""><span style="font-size:11.0pt; line-height:115%; font-family:"Calibri","sans-serif"" lang="NL-BE"><br style="page-break-before:always" clear="all">
</span></b>
<p class="MsoNormal"><b style=""><span style="" lang="NL-BE"> </span></b></p>
<p class="MsoNormal"><b style="">References</b></p>
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<i style="">Visual Communication </i>8(4): 379-399.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Auer, P. 2009. Context and contextualization. In: Verschueren, J., Östman, J.-O. (eds.),
<i style="">Key Notions for Pragmatics</i>, 86-101, Amsterdam and Philadelphia: Benjamins.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Baldry, A. 2007. The role of multimodal concordancers in multimodal corpus linguistics. In: Royce, T., Bowcher, W. (eds.),
<i style="">New Directions In The Analysis Of Multimodal Discourse, </i>173-93, New Jersey: Erlbaum.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Baldry, A., Thibault, P. 2005.
<i style="">Multimodal Transcription and Text Analysis. </i>London: Equinox.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Baldry, A., Thibault, P. 2008. Applications of multimodal concordances.
<i style="">Hermes: Journal of Language and Communication Studies</i> 41: 11-41.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Bateman, J. 2011.
<i style="">Multimodality and Genre. A Foundation for the Systematic Analysis of Multimodal Documents</i>. London: Palgrave McMillan.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Bateman, J. 2012. Genre in the age of multimodality: some conceptual refinements for practical analysis. In: Evangelisti-Allori, P., Bhatia, V., Bateman, J., (eds.),
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M. (eds.), <i style="">Perspectives on multimodality, </i>65-87, Amsterdam/Philadelphia: Benjamins.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Bhatia, V. 2010. Interdiscursivity in professional communication.
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<i style="">The sociolinguistics of globalization. </i>Cambridge: Cambridge University Press.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal"><span style="" lang="DE">Brône, Geert, Oben, Bert. fc.
</span>InSight interaction: a multimodal and multifocal dialogue corpus. <i style="">
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<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Djonov, E., Knox, J., Zhao, S. 2013.
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<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Garzone, G. 2012. Why do genres change?
<span style="" lang="IT">In: Garzone, G., Catenaccio, P., Degano, Ch. </span>(eds.),<i style=""> Genre Change in the Contemporary World. Short-term Diachronic Perspectives,
</i>21-40, Bern: Peter Lang.</p>
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<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Jewitt, C. 2011.
<i style="">The Routledge Handbook of Multimodal Analysis. </i>London: Routledge.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Jewitt, C., Oyama, R. 2001. Visual meaning : a social semiotic approach. In : Van Leeuwen, T. Jewitt, C. (eds.),
<i style="">Handbook of Visual Analysis</i>, 134-156, London: Sage.</p>
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<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Kress, Gunther. 2011. ‘Partnerships in research’: multimodality and ethnography.
<i style="">Qualitative Research </i>11: 239-260.</p>
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</span><i style="">Reading Images. The grammar of Visual Design. </i>New York: Routledge.</p>
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<i style="">The Handbook of New Media</i>, 205-229, London: Sage.</p>
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</span><i style="">Discourse & technology. Multimodal discourse analysis. </i>Washington: Georgetown University Press.</p>
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<i style="">Handbook of Interpersonal<span style=""> </span>Communication, </i>285-330, Berlin and New York: Mouton de Gruyter.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Van Leeuwen, Th. 1998. It was just like magic: a multimodal analysis of children’s writing.
<i style="">Linguistics and Education </i>10(3): 273-305.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Van Leeuwen, Theo. 2011. Multimodality and multimodal research.
<span style="" lang="NL-BE">In: Margolis, E., Pauwels, L. (eds.). </span><i style="">The Sage Handbook of Visual Research Methods,
</i>549-569, London: Sage.</p>
<p class="MsoNormal" style="margin-bottom:3.0pt; line-height:normal">Verschueren, Jef. 1999.
<i style="">Understanding pragmatics. </i>Oxford: Oxford University Press.</p>
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<p class="MsoNormal"><b><span style="font-size:8.0pt; font-family:"Trebuchet MS","sans-serif"; color:#4B2B4B" lang="NL-BE">GEERT BRÔNE</span></b><br>
<font face="Calibri" size="2"><span style="font-size:11pt"></span></font></p>
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<div><font color="#4B2B4B" face="Trebuchet MS" size="1"><span style="font-size:8pt"><b>Docent Taalkunde en Discourse Studies</b><br>
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Lessius Antwerpen/ KU Leuven</span></font></div>
<div><font color="#4B2B4B" face="Trebuchet MS" size="1"><span style="font-size:8pt">Subfaculteit Taal & Communicatie</span></font></div>
<div><font color="#4B2B4B" face="Trebuchet MS" size="1"><span style="font-size:8pt">Sint-Andriesstraat 2 | 2000 Antwerpen | België</span></font></div>
<div><font color="#4B2B4B" face="Trebuchet MS" size="1"><span style="font-size:8pt">Tel. + 32 (0)3 206 04 91 & Fax + 32 (0)3 206 04 99</span></font><span style="font-size:8.0pt; font-family:"Trebuchet MS","sans-serif"; color:#4B2B4B" lang="NL-BE"><br>
geert.brone@arts.kuleuven.be<br>
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<p class="MsoNormal"><b><span style="font-size:8.0pt; font-family:"Trebuchet MS","sans-serif"; color:#4B2B4B" lang="NL-BE">GEERT BRÔNE</span></b><br>
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Lessius Antwerpen/ KU Leuven</span></font></div>
<div><font color="#4B2B4B" face="Trebuchet MS" size="1"><span style="font-size:8pt">Subfaculteit Taal & Communicatie</span></font></div>
<div><font color="#4B2B4B" face="Trebuchet MS" size="1"><span style="font-size:8pt">Sint-Andriesstraat 2 | 2000 Antwerpen | België</span></font></div>
<div><font color="#4B2B4B" face="Trebuchet MS" size="1"><span style="font-size:8pt">Tel. + 32 (0)3 206 04 91 & Fax + 32 (0)3 206 04 99</span></font><span style="font-size:8.0pt; font-family:"Trebuchet MS","sans-serif"; color:#4B2B4B" lang="NL-BE"><br>
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