The contemporary audiovisual ecosystem is undergoing accelerated transformations that fundamentally impact educational methods across all school levels. While instruction is no longer defined solely by classical cinematic texts, but increasingly includes transmedia formats, podcasts, and AI-generated content, the school environment in the Czech Republic remains strictly bound by the 45-minute lesson unit. Within this temporal framework, the use of audiovisual clips dominates over the viewing of complete films. However, the selection of these clips is currently based on a normative model derived from "expert intuition" rather than empirical data.
This doctoral research proposes a necessary epistemological turn—shifting from a normative to an empirical model of material selection. It addresses the critical conflict between the teacher, often acting as a "digital immigrant" influenced by a preference for linear narratives and slower pacing, and the student, a "digital native" accustomed to the fragmented, vertical, and accelerated content of the current online ecosystem. This disconnect often leads to affective rejection or disengagement in the classroom.
The theoretical framework is anchored in an adapted version of Kathleen McCormick’s theory of repertoires (1994). The study conceptualizes the didactic situation as a dynamic interaction between three distinct repertoires:

• The Textual Repertoire: The formal, narrative, and ideological properties of the clip itself.
• The Student Repertoire: The out-of-school media practice, currently defined by verticality and fragmentation.
• The Teacher Repertoire: Pedagogical goals and personal aesthetics formed by classical cinema and television.

The primary aim is to analyze the tension and "intergenerational disjuncture" between the student and teacher repertoires. By utilizing Affect Theory and Cognitive Film Theory, the research examines both the embodied, non-verbal affective responses of students and their cognitive processing of didactic clips. The goal is to verify criteria for material selection directly with the primary recipients—the students—to ensure that audiovisual clips function not just as illustrative supplements, but as autonomous "didactic objects" that foster media literacy and critical thinking.

The research employs a Qualitative Multi-Method Design to ensure the ecological validity of the findings. The methodology is structured into three key phases: 1. Pilot Project: A preliminary study conducted with a single class over one semester. This phase serves to calibrate the research instruments, test the feasibility of the design, and establish a reference benchmark for the diversity of audiovisual materials used in various subjects. 2. Phenomenological Interviews: In-depth semi-structured interviews are conducted with both students and teachers. Student interviews follow a three-stage phenomenological structure to ensure depth: Stage 1: Focus on the student's viewer history and general media biography. Stage 2: Focus on the immediate affective experience directly following the viewing of a specific didactic clip. Stage 3: Focus on the contextual friction between their school and out-of-school media experiences. Complementary interviews with teachers focus on defining the "Teacher Repertoire," specifically analyzing their pedagogical motivations, personal aesthetic criteria, and their reflexive perception of students' media consumption habits. 3. Participatory Observation (Focus on Affect): Implemented in cooperation with educators, this method focuses on the immediate "affective response." The researcher observes non-verbal cues—body language, emotional shifts, and collective atmosphere—which serve as primary indicators of engagement often missed by verbal feedback. This qualitative triangulation allows for a comprehensive analysis of the "Generational Media Conflict" and provides a robust empirical foundation for the proposed typology of didactic objects.

The research anticipates delivering practical and theoretical contributions to the field of audiovisual education. Practically, it will result in a "Typology of Didactic Audiovisual Objects," categorizing clips based on their function (motivational, illustrative, analytical, generative) rather than just their source. Furthermore, the study will establish a verified set of "Audience-Driven Criteria" for material selection. These criteria will help educators navigate the "generational gap" and select materials that resonate with the specific cognitive and affective sensibilities of contemporary students. Theoretically, the project offers a sociological and didactic analysis of the intergenerational disjuncture. By mapping the friction between the teacher’s and student’s repertoires, the research provides a model for understanding how out-of-school media practices determine in-school reception. The findings will support a shift towards an education system that respects the complex media reality of the "digital native," moving beyond intuitive selection towards evidence-based pedagogy.

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