Taal HD Full Movie Download _VERIFIED_
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Taal HD Full Movie Download
The results of RQ 1.3 were less conclusive. Generally, the hearer was able to successfully interpret the hearer only if the speaker chose a strong enough perspective. A hearer tended to more successfully follow the speaker when he or she was more strongly identified as a close friend or family member, as in a sentence such as “It is too sad because he is one of my best friends”. The hearer was also more successful following a speaker when the speaker explicitly pointed out her or his own perspective (e.g., “She laughed and said, “I am happy, you know? Because I am a happy person.”). This, for example, underscores the fact that the utterance used to prompt the rater could be fully interpreted as a viewpoint marker, even though the speaker did not explicitly point out this information. The results indicate that the hearer could successfully interpret the speaker’s viewpoint only when it was perceived as relatively close in terms of closeness rating. The hearer was less successful when the speaker was not a close friend or family member and when the speaker had chosen a relatively extreme or distant perspective.
The setting of the movie is a typical park-like setting. The “hero” of the movie, Jipako, is shown with his two brothers, and other characters are physically present in the story. Jipako is a boy who has decided to leave his village and his childhood in search of adventure. On his way, he rides the train, gets lost in the woods, has some misunderstandings and finally, by switching on the radio of the old train, he reaches his destination. The participant’s narration moves back and forth between events happening in the narrative, statements about the relationships in the film, the experience of the speaker, and interpretations of the film’s message. The train, the moat and the bridge are all shown in the video, but the participant might not have been able to see them at that moment.
In the movie studied here, as well as in Taal 2, two speech acts are clearly seen in the data: an orientation, with the beginning of each story; and a resolution, in which a resolution of the problem that has just been introduced is expressed in terms of a new beginning. These speech acts cannot be regarded as representing a single speech act, since they represent very different parts of the narrative. The first one is the story-teller’s telling of the story, and therefore cannot be distinguished from the story it tells. The second one is, rather, the story being told. This is the resolution of the problem that the story-teller has introduced.
Further, three of the eleven stories that we observed in Taal 2 do not include any narrative resolution. Instead, in these cases, the story-teller expresses by means of the speech act an attitude or feeling towards the problem that was just introduced. The text of the story provides sufficient information for the listener to infer the person who is reacting in the speech act; the most obvious example of a person expressing such an attitude is the boy laughing at the end of the story. These three cases are not considered to be resolved in a narrative sense (since the problem still exists at the end of the story), but as speaking events in which the story-teller expresses an attitude that could be intended as a comment on the story that just unfolded.
In the recording booth, all equipment is prepared. Once all are ready, the participant sits in the booth and is shown the introductory video. The participant is told that he will soon start recording. Once the participant is in position, he is welcomed and told to look around. He is also told that he may like to look at the equipment (real or virtual), the videotape (full or partial), the control screens, and other aspects.