Audiovisual narratives and cooperative learning in Chinese as a foreign language

XIAOLING WANG

Universidad Complutense de Madrid,

España

xiaolw01@ucm.es

https://orcid.org/0009-0005-5513-3454

AURORA CENTELLAS RODRIGO

Universidad a Distancia de Madrid,

España

aurora.centellas@udima.es

https://orcid.org/0000-0002-5522-1308

Abstract

This article presents an innovative pedagogical experience in university-level Chinese as a Foreign Language (CFL) education that integrates narrative reading and cooperative audiovisual production. The study explores how cooperative audiovisual production and multimodal storytelling may contribute to the development of linguistic competence, learner motivation, and intercultural engagement in CFL learning contexts.

Implemented over three academic years (2022–2025) at the Complutense University of Madrid, the project combined the reading of Chinese short stories with the cooperative creation of audiovisual narratives inspired by those texts. A longitudinal mixed-methods design was adopted, integrating quantitative data from evaluation rubrics and student questionnaires with qualitative evidence derived from classroom observations, reflective journals, and content analysis.

The findings suggest that cooperative audiovisual production may support the development of pronunciation, narrative organization, learner motivation, and creative participation, while also fostering symbolic and intercultural reflection through collaborative meaning-making. The results further highlight the importance of teacher mediation in sustaining group cohesion, creative autonomy, and pedagogical continuity throughout the production process.

The study concludes that integrating audiovisual storytelling into CFL instruction may contribute to more participatory, multimodal, and culturally situated language learning experiences. At the same time, the exploratory nature of the study and the limited sample size invite cautious interpretation and point to the need for further research across diverse educational contexts.

Keywords

Cooperative learning; Chinese as a foreign language; audiovisual storytelling; multimodal learning; intercultural competence.

Narrativas audiovisuales y aprendizaje cooperativo en chino como lengua extranjera

Resumen

Este artículo presenta una experiencia pedagógica innovadora en la enseñanza universitaria del chino como lengua extranjera (CLE), que integra la lectura narrativa y la producción audiovisual cooperativa. El estudio explora cómo la producción audiovisual cooperativa y la narración multimodal pueden contribuir al desarrollo de la competencia lingüística, la motivación del alumnado y el compromiso intercultural en contextos de aprendizaje de CLE.

Implementado durante tres cursos académicos (2022–2025) en la Universidad Complutense de Madrid, el proyecto combinó la lectura de relatos breves chinos con la creación cooperativa de narrativas audiovisuales inspiradas en dichos textos. Se adoptó un diseño longitudinal de métodos mixtos, integrando datos cuantitativos procedentes de rúbricas de evaluación y cuestionarios estudiantiles con evidencias cualitativas derivadas de observaciones en el aula, diarios reflexivos y análisis de contenido.

Los hallazgos sugieren que la producción audiovisual cooperativa puede favorecer el desarrollo de la pronunciación, la organización narrativa, la motivación y la participación creativa del alumnado, al tiempo que fomenta la reflexión simbólica e intercultural mediante la co-construcción de significados. Los resultados destacan, además, la importancia de la mediación docente para sostener la cohesión grupal, la autonomía creativa y la continuidad pedagógica durante el proceso de producción.

El estudio concluye que la integración de la narrativa audiovisual en la enseñanza de CLE puede contribuir a experiencias de aprendizaje más participativas, multimodales y culturalmente situadas. Al mismo tiempo, el carácter exploratorio del estudio y el tamaño limitado de la muestra invitan a una interpretación cautelosa y señalan la necesidad de futuras investigaciones en diversos contextos educativos.

Palabras clave

Aprendizaje cooperativo; chino como lengua extranjera; narrativa audiovisual; aprendizaje multimodal; competencia intercultural.

Received 06/11/2025
Accepted 07/05/2026

How to cite / Cómo citar

Wang, X., Centellas Rodrigo, A. (2026). Audiovisual narratives and cooperative learning in Chinese as a foreign language. Revista Internacional De Lenguas Extranjeras / International Journal of Foreign Languages, (26), 129-153. https://doi.org/10.17345/rile26.4322

1. Introduction

In today’s digital environment, audiovisual content is not only abundant but also a primary mode of communication, expression, and learning among young generations. The democratization of media production technologies—such as smartphones, editing software, and social platforms—has transformed students into content creators rather than passive consumers. This cultural and technological shift opens new pedagogical possibilities for language education, especially in the field of Chinese as a Foreign Language (CFL), where sustaining learner engagement and providing meaningful cultural interaction remain important challenges outside Chinese-speaking environments.

This study is grounded in the pedagogical experience developed through the Innovative Reading Project at the Complutense University of Madrid, which integrates the reading of Chinese literary texts with cooperative audiovisual production. The approach combines narrative comprehension, translation, and creative reinterpretation, allowing students to engage with the text not only as readers but also as active creators. In this process, cooperative group work becomes a powerful means to support the development of linguistic and intercultural competence through collaboration, reflection, and shared problem-solving.

The study aims to explore how cooperative learning and student-produced audiovisual narratives can act as tools for enhancing linguistic development, learner motivation, and intercultural engagement in Chinese language learning. The experience was implemented across three academic years (2022–2025) and draws on both quantitative and qualitative data to assess the impact of collaborative media creation on linguistic performance and cultural awareness.

Recent developments in digital and competency-based education have encouraged the integration of collaborative and multimodal practices into language teaching. Global frameworks such as the European Commission’s DigCompEdu and UNESCO’s Media and Information Literacy guidelines highlight the need to integrate creative digital tools and collaborative methodologies into language education. Within this context, audiovisual storytelling has emerged as a pedagogical approach that combines linguistic, visual, and technological dimensions of learning.

For the teaching of Chinese, these innovations are especially relevant. The complexity of its writing system, the tonal nature of pronunciation, and the cultural and semiotic complexity demand pedagogical approaches that transcend traditional grammar-translation or teacher-centered models. Audiovisual storytelling offers a multimodal path toward meaning-making, combining oral expression, image, sound and narrative. This integration may contribute not only to communicative competence, but also to the development of cultural empathy, aesthetic awareness, and a deeper emotional connection to the target language.

Moreover, the project aligns with current educational paradigms that emphasize learner agency, experiential learning, and social constructivism. By encouraging students to become producers rather than consumers of meaning, it situates learning as a participatory and creative act, consistent with the principles of Vygotsky’s sociocultural theory and Dewey’s experiential learning. In this sense, collaborative audiovisual production may provide opportunities for socially mediated language use and creative engagement in CFL classrooms.

Despite the growing body of research on cooperative learning and digital storytelling, the integration of these approaches within Chinese as a Foreign Language (CFL) education remains under-explored. Existing studies have tended to examine these pedagogical dimensions in isolation, primarily within English as a Foreign Language (EFL) contexts. Consequently, there is a lack of research on how collaborative audiovisual narratives may foster symbolic understanding and learner agency specifically in CFL settings. To address this gap, the present study adopts a longitudinal mixed-methods perspective to examine cooperative audiovisual creation as a practice of intercultural mediation. By doing so, this work seeks to contribute both to the theoretical debate on multimodal literacy in Chinese language education and to the development of practical pedagogical frameworks for its curricular implementation.

This study is guided by the following research questions:

RQ1: To what extent does cooperative audiovisual production contribute to the development of linguistic competence in CFL learners?

RQ2: How does participation in collaborative audiovisual creation influence learners’ motivation and intercultural engagement?

RQ3: In what ways does audiovisual storytelling promote creative autonomy and symbolic mediation in CFL education?

The following section reviews the theoretical and empirical background that informs this pedagogical design. It focuses on four interconnected domains: cooperative learning in foreign language education; motivation and emotional engagement; symbolic competence and cultural mediation; and the integration of reading and audiovisual storytelling as a multimodal process. Together, these elements provide the conceptual framework for examining how cooperation and audiovisual production may support language learning and intercultural engagement in CFL education.

2. State of the question

Foreign language learning is a multifaceted process intertwining cognitive, affective, and social dimensions. In this study, out-of-class cooperative activities are framed as semiotic environments where students engage with language and culture through creative production.

The theoretical architecture of this model rests on four pillars: learner motivation, cooperative learning, symbolic and intercultural mediation, and audiovisual storytelling. Together, these frameworks explain how integrated multimodal practices can support collaborative and culturally oriented language learning.

2.1 Cooperative learning in foreign language education

While research specifically addressing cooperative audiovisual learning in CFL remains nascent, established frameworks from EFL and Second Language Acquisition (SLA) provide a necessary comparative baseline.

Cooperative Learning (CL) is a well-established pedagogical framework emphasizing shared responsibility, interaction, and positive interdependence among learners (Johnson et al., 1999). Its theoretical foundations lie in social constructivism (Vygotsky, 1978) and communicative language teaching, both of which view learning as a socially mediated process. Within language education—particularly in English as a Foreign Language (EFL) contexts—CL promotes active communication, negotiation of meaning, and mutual support among learners, making it a powerful tool for second language acquisition (Apple, 2006).

A considerable body of empirical research has demonstrated the positive outcomes of Cooperative Language Learning (CLL) in EFL instruction. Studies have consistently reported improvements in linguistic performance (Alghamdi & Gillies, 2013; Kuo et al., 2015), academic achievement (Azizinezhad et al., 2013), and reductions in foreign language anxiety (Horwitz et al., 1986). Recent findings also underscore the role of CL in fostering learner motivation and self-efficacy (Sewell, 2022), suggesting its continued relevance in contemporary language pedagogy.

Nevertheless, challenges regarding its classroom implementation persist. Tamimy et al. (2023) reveal that, despite teachers’ generally favorable attitudes toward cooperative learning, its application in EFL classrooms often lacks fidelity to its core principles. Their grounded-theory analysis identified several inhibiting factors, including insufficient teacher training, structural and cultural constraints, unbalanced group dynamics, and learners’ limited preparedness for interdependent work. These findings highlight that the mere inclusion of group tasks in coursebooks does not guarantee genuine cooperation; rather, successful implementation requires explicit teacher preparation, context-sensitive strategies, and institutional support (Gillies & Boyle, 2010; Chan, 2017).

Parallel to these pedagogical concerns, recent scholarship has turned to the intersection of technology and cooperative pedagogy. Liu et al. (2024) conducted a comprehensive meta-review of Technology-Enhanced Cooperative Language Learning (TECLL) studies published between 2010 and 2022. Their findings indicate that technology-integrated cooperative instruction is associated with substantial positive effects on foreign language learning outcomes (mean effect size d = 0.86), particularly in writing, speaking, and vocabulary development. The review further suggests that the duration of intervention—not the learners’ educational stage—significantly mediates outcomes. Importantly, the study calls for expanding investigations into primary and secondary education contexts, as well as for greater attention to affective and social variables such as motivation, peer interaction, and emotional well-being.

This synthesis of research highlights a critical tension: while Cooperative Learning remains theoretically robust, its practical efficacy hinges on structured pedagogy and the adaptive integration of technology. Although TECLL offers a promising framework for multimodal engagement, a significant empirical gap persists. Specifically, few studies have explored how these collaborative dynamics unfold within the phonologically and orthographically distinct context of CFL, particularly through sustained, longitudinal interventions centered on audiovisual storytelling.

2.2 Motivation and emotional engagement in L2 learning

Motivation remains a foundational variable in Second Language Acquisition (SLA), often serving as the primary engine for long-term commitment. As Dörnyei (2008) noted, motivated learners can achieve substantial proficiency regardless of cognitive ability or linguistic aptitude. The challenge lies in maintaining sustained motivation, particularly in non-immersive environments. Dörnyei (2001) and Sewell (2022) emphasize that connecting learning activities to students’ personal interests, emotions, and cultural curiosity enhances long-term engagement.

Recent studies reaffirm that intrinsic motivation—stemming from curiosity, enjoyment, and cultural interest—plays an important role in language learning success (Chao Chao, 2024). This perspective aligns with socio-emotional approaches that treat language learning as a deeply affective experience. Emotional involvement, creativity, and personal relevance are essential in sustaining learners’ commitment and sense of identity as language users (Williams, 1994).

Furthermore, contemporary motivational frameworks increasingly prioritize the social and creative affordances of the classroom. The L2 Motivational Self System (Dörnyei, 2009) suggests that learning is most effective when students can visualize their «Ideal L2 Self» —an image of the person they wish to become in the target language. By integrating cooperative group work with creative audiovisual tasks, the classroom transforms into a motivational catalyst. In this setting, students do not just practice grammar; they co-construct knowledge and experience ownership over their creative output. The transition from passive learner to active «content creator» provides a tangible sense of achievement that reinforces both self-efficacy and group cohesion (Lozano Fernández et al., 2000).

In this sense, student-generated audiovisual narratives function as a bridge between linguistic multimodal performance and artistic expression. This multimodal synergy allows learners to merge their emotional and cognitive worlds, reinforcing their persistence in the face of linguistic challenges. However, despite these theoretical links, the specific impact of multimodal creative production on the longitudinal motivation of CFL learners remains under-explored, particularly regarding how collaborative digital environments can mitigate the perceived cultural distance inherent in learning Chinese.

2.3 Symbolic and cultural mediation through reading and audiovisual narratives

Language learning involves not only mastering linguistic forms but also developing symbolic competence—the ability to interpret, create, and negotiate meanings across cultural boundaries (Kramsch, 2006, 2021). In this study, symbolic competence is understood as complementary to intercultural communicative competence, since both involve the interpretation and negotiation of meaning across cultural frameworks. Intercultural communicative competence (ICC) is understood in this study as the capacity to interact appropriately and critically across cultural contexts through attitudes of openness, interpretative skills, mediation, and critical cultural awareness (Byram, 2020). Beyond the acquisition of cultural knowledge, ICC involves the ability to compare perspectives, negotiate meanings, and reflect critically on one’s own assumptions in intercultural interaction. Recent discussions have further emphasized the situated and value-based nature of intercultural competence, particularly in contexts shaped by diverse sociocultural and ideological frameworks (Nemouchi & Byram, 2026). From this perspective, language learning extends beyond communicative accuracy and involves the development of cultural interpretation, empathy, and reflective participation. Through symbolic engagement, language may function as a medium for cultural participation and self-expression.

Reading foreign literary texts can serve as a site of cultural encounter, fostering empathy and symbolic awareness (Sáiz-López, 2015). For students of Chinese, literary reading opens access to diverse worldviews, values, and narrative traditions distinct from those of Western languages. When this interpretive process extends into audiovisual re-creation, learners participate in transcreation—the reimagining of textual meaning through visual, vocal and multimodal forms. Such tasks require learners to interpret symbols, select cultural codes, and rearticulate them through image, sound and voice-over narration, thereby transforming comprehension into creation.

Recent studies have highlighted how this combination of reading and multimodal production fosters intercultural competence and emotional engagement. Pundziuvienė et al. (2023) demonstrated that narrative production tasks involving cultural mediation enhance empathy and intercultural understanding. Similarly, Lyu (2022) and Piernavieja Miguel (2022) observed that vlogging, dubbing, and video storytelling in Chinese language courses promote both communicative confidence and symbolic interpretation. These findings suggest that audiovisual creation serves not only linguistic but also affective and cultural functions, linking language learning with identity and imagination.

From a broader theoretical perspective, learning takes place within socially mediated systems of meaning (Cole, 2003). Dewey’s (1938) experiential learning principles and Van Lier’s (2004) ecological approach both emphasize the interplay between context, emotion, and cognition. In this view, the classroom becomes a semiotic ecosystem where learners interact with texts, peers, and technologies as cultural artifacts. Within this framework, cooperative audiovisual projects represent a dynamic site of mediation: they connect reading practices with real-world cultural production, transforming learners into active participants in intercultural communication.

2.4 Digital transformation and the integration of audiovisual practices in language teaching

Following the discussion of symbolic and cultural mediation, this section examines how processes of digital transformation extend these mediational dynamics through multimodal and audiovisual practices in language education.

The digital transformation of education has profoundly reshaped how languages are taught and learned, expanding the modalities and contexts in which learners engage with linguistic input (Warschauer & Kern, 2000; Hampel & Stickler, 2012). Digital tools, online platforms, and mobile devices now enable multimodal communication that combines text, image, sound, and gesture—closely mirroring the communicative practices of contemporary society. Within this ecology, audiovisual production emerges as a pedagogical practice that engages linguistic, semiotic, and technological literacies simultaneously (Robin, 2008; Hafner & Miller, 2019). Producing a short video, for instance, requires learners to negotiate meaning across modalities, attend to pronunciation and intonation, and make culturally informed aesthetic choices.

International frameworks such as the Digital Competence Framework for Educators (DigCompEdu) (Redecker, 2017) and UNESCO’s Media and Information Literacy Curriculum for Teachers (Wilson et al., 2011) underscore the educational value of creative digital participation. These policies highlight the need for learners to become critical and productive users of media—capable of both consuming and creating multimodal content (Reinhardt, 2019). Embedding audiovisual projects into language teaching thus aligns pedagogical practice with broader goals of digital citizenship, media literacy, and multimodal communication.

From a second-language pedagogy standpoint, audiovisual creation mediates learning through two complementary mechanisms. First, it constitutes an authentic communicative task, requiring planning, negotiation, and performance for an audience—activities that align with interactional and sociocultural models of L2 development (Lantolf et al., 2020). Second, the process of collaborative media production promotes peer scaffolding, distributed roles, and shared accountability, thereby extending the principles of cooperative learning (Johnson et al., 1999) into digital, multimodal contexts (Liu et al., 2024).

Empirical research confirms that student-generated video and digital storytelling foster motivation, engagement, and intercultural awareness. Smeda et al. (2014) demonstrated that digital storytelling promotes reflective and emotional engagement, while Hafner and Miller (2019) found that English learners who produced video blogs developed stronger audience awareness and multimodal competence. Likewise, Bolarín Martínez and Porto Currás (2023) observed that audiovisual creation enhances linguistic participation and creativity by merging visual and verbal modes of expression. In the field of Chinese as a Foreign Language (CFL), similar results have been reported by Lyu (2022) and Piernavieja Miguel (2022), who emphasize the value of vlogging and dubbing in fostering cultural understanding and expressive confidence.

However, as Liu et al. (2024) caution, technological tools alone do not guarantee pedagogical success. Effective integration depends on careful task design, teacher scaffolding, and balanced assessment that values multimodal creativity alongside linguistic accuracy. Clear rubrics and cooperative structures help maintain motivation, equity, and shared ownership in group work. When supported by reflective and culturally sensitive pedagogy, digital audiovisual projects may contribute to more holistic, creative, and socially meaningful CFL learning experiences.

Despite the growing body of research on cooperative learning, digital storytelling, and multimodal language pedagogy, existing studies have generally examined these dimensions separately. In CFL contexts in particular, limited attention has been paid to how cooperative audiovisual narrative production may simultaneously foster linguistic development, learner motivation, and intercultural competence within a longitudinal pedagogical framework. Moreover, most previous studies have focused on short-term interventions or isolated technological practices rather than sustained, collaborative meaning-making processes. Taken together, these studies suggest that cooperative audiovisual production constitutes a promising yet still underexplored area within CFL pedagogy, particularly in longitudinal and multimodal learning contexts.

In summary, the digital turn has redefined language education as an ecosystem of multimodal and intercultural communication. Cooperative audiovisual creation can be understood as one possible manifestation of this paradigm, integrating linguistic learning with cultural interpretation and digital literacy while encouraging students to become active producers of meaning.

Building on these theoretical insights, the next section outlines the methodological framework that translates these principles into practice within the Innovative Reading Project.

3. Methodological design

This study explores how cooperative audiovisual creation can enhance linguistic, symbolic, and intercultural competence in the learning of Chinese as a Foreign Language (CFL). The methodological design combines qualitative and quantitative strategies within a longitudinal comparative framework, enhancing analytical rigor and methodological transparency.

Following a mixed-methods approach (Creswell & Plano Clark, 2017), the study integrates interpretive and numerical data to capture the multidimensional nature of learning—cognitive, affective, and social. This approach allows for a comprehensive understanding of how cooperative work and audiovisual storytelling interact in the acquisition of Chinese language and culture.

The research forms part of the Innovative Reading Project at the Complutense University of Madrid and encompasses three instructional cycles (2022–2025). The most recent cycle (2024–2025) serves as the main focus of this article, while data from the earlier editions (2022–2024) are used for comparative and longitudinal interpretation.

3.1 Participants and research context

The study adopts a longitudinal and comparative mixed-methods design, enabling observation of pedagogical evolution and student learning across three academic years.

In the 2024–2025 cycle, participants were 22 undergraduate students enrolled in Lengua China III and Lengua China IV (intermediate-level courses, CEFR B1). Students were organized into five cooperative groups, each of which produced a bilingual short audiovisual project based on a traditional or historical Chinese story.

Although ten groups were initially planned, the final sample consisted of five completed projects following an instructor’s medical leave. This reduction in sample size was partially compensated through cross-year comparative analysis, which provided additional longitudinal perspective and analytical consistency.

The analysis integrates the most recent cohort with comparative data from 2022–2023 (n = 23) and 2023–2024 (n = 13), providing a total of 41 valid questionnaire responses across the three instructional cycles, thus ensuring a broader empirical base for the quantitative analysis. All participants provided informed consent, and the project followed the ethical guidelines of the university’s research committee.

The reduced sample size in the final cycle and the absence of a control group are acknowledged as methodological limitations. Consequently, the findings should be interpreted as exploratory and context-sensitive rather than broadly generalizable.

3.2 Instruments and data collection

Data were obtained through three complementary instruments:

(1) direct observation and reflective journals,

(2) content analysis of the student-produced audiovisual materials,

(3) student questionnaires.

Table 1 summarizes the characteristics, purposes, and variables associated with each instrument used in the study.

Observation logs were completed weekly, documenting group cooperation, task progress, and the teacher’s mediation strategies throughout three production phases: script adaptation and planning, resource collection and voice-over recording, and final digital editing.

Audiovisual products were evaluated using a six-criteria rubric covering visual and auditory clarity, narrative coherence, pronunciation and intonation of Chinese, synchronization of image and sound, creativity and expressiveness, and cultural relevance.

The student questionnaire, administered at the end of each cycle, included Likert-scale items (1 = strongly disagree – 5 = strongly agree) and open-ended questions addressing perceived learning, emotional engagement, and cooperative dynamics.

Due to low response rates in 2024–2025 (5 valid questionnaires out of 22 students), quantitative results from that cycle were complemented by qualitative evidence and compared with previous years’ data. This procedure helped strengthen interpretive consistency despite the smaller final cohort.

Since audiovisual productions were completed collaboratively, the number of videos corresponds to group projects rather than individual participants.

The internal consistency of the questionnaire was high (Cronbach’s α = 0.86), indicating strong reliability of the motivational and cooperative constructs across the three cycles (Cronbach, 1951; Dörnyei & Dewaele, 2022). Table 2 presents the evaluation rubric used to assess the linguistic, technical, expressive, and cultural dimensions of the audiovisual productions.

Each audiovisual product was evaluated independently by two instructors with expertise in Chinese language pedagogy and audiovisual literacy. To ensure inter-rater reliability, both evaluators calibrated their criteria through a pilot scoring session, achieving a Cohen’s κ of 0.82, which indicates strong agreement. Discrepancies were discussed until a consensus score was reached for each criterion.

The rubric served not only as an assessment tool but also as a pedagogical instrument, guiding students’ self-reflection during the creative process. Rubric-based feedback sessions encouraged learners to connect linguistic precision with artistic and cultural expression, aligning with the project’s broader goal of fostering symbolic and intercultural competence.

3.3 Data analysis and integration

Qualitative and quantitative data were first analyzed independently and later integrated through methodological triangulation.

Qualitative analysis focused on thematic coding of observation logs and open-ended responses, identifying patterns related to motivation, creativity, and group interaction.

Quantitative data from rubrics and questionnaires were processed using descriptive statistics (means, standard deviations) and cross-year comparisons.

Integration followed a convergent parallel design, allowing qualitative findings to contextualize quantitative trends. For example, relatively higher narrative coherence and creativity scores observed in the 2024–2025 cycle corresponded to reflective notes describing greater group cohesion and sustained teacher support.

As Mejeh et al. (2023: 512) observe, «Mixed-methods inquiry seeks not only to measure outcomes, but to understand how learning emerges within contextual and social dynamics».

Although the most recent questionnaire sample was limited, the combination of qualitative documentation, longitudinal comparison, and rubric-based evaluation helped support the consistency of the interpretation. The integrated analysis suggests that cooperative audiovisual creation may support linguistic development while also encouraging symbolic and intercultural engagement through socially mediated and multimodal learning practices.

4. Results

This section presents the main findings from the mixed-methods analysis, integrating data from three instructional cycles (2022–2023, 2023–2024 and 2024–2025). Results are organized according to the evaluative dimensions established in the audiovisual production rubric and complemented by evidence from questionnaires and reflective journals. While quantitative trends reveal consistent improvement in linguistic and expressive competence, qualitative data provide insight into the affective and cooperative dynamics that accompanied these changes.

Figure 1 illustrates the comparative results of the rubric-based evaluation for student video productions across three consecutive academic years. Percentages represent normalized mean rubric scores converted from the original 1–5 evaluation scale to facilitate cross-cycle comparison.

The overall performance of students showed a positive progression across all six evaluative categories, suggesting that the integration of cooperative audiovisual tasks supports multidimensional learning.

The most notable improvement was observed in visual and auditory clarity, which increased from 82% in 2022–2023 to 96% in 2024–2025. Reflective logs indicate that this improvement was due to refined pedagogical scaffolding and the availability of exemplars from previous cycles, which allowed students to better navigate technical aspects such as rhythmic pacing, audio-visual synchronization, and the strategic use of subtitles.

Progress in pronunciation and intonation was also evident, rising from 68% to 80% over the three cycles. Despite the relatively small number of participants completing the questionnaire in 2024–2025 (n = 5), these quantitative gains were supported by qualitative reflections emphasizing the role of repeated rehearsals and peer feedback.

In contrast, narrative coherence showed a more moderate increase, from 82% to 86%. While students became more adept at structuring bilingual scripts, several groups still struggled to balance linguistic accuracy with creative storytelling. Observation notes revealed that the strongest performances came from groups that distributed roles evenly (writer, voice-over narrator, editor), allowing a more balanced workload.

Synchronization between image and sound peaked in 2023–2024 (96%) but slightly declined in 2024–2025 (90%), largely due to technical limitations — the instructor’s absence during one phase of the 2025 cycle reduced direct guidance in postproduction.

Over the three editions of the project, the methodology evolved from an externally tutored, extracurricular model to a fully integrated curricular component supported by in-class teacher guidance and graded assessment.

In the first cycle (2022–2023), students worked outside regular class hours under the supervision of tutors—faculty members or doctoral students—on the reading and adaptation of traditional Chinese tales such as The Old Horse Knows the Way, Houyi the Divine Archer, The Legend of the Chinese New Year, Catching the Thief by Touching the Bell, A Brave Daughter, The Snail Girl, and The Old Man Who Lost His Horse at the Frontier. Teachers of Lengua China III and IV assisted with pronunciation and textual comprehension in class, though the audiovisual project accounted for only a minor portion of the final grade.

In the second cycle (2023–2024), the focus shifted toward symbolic and cultural interpretation through myths and legends such as Cangjie and the Invention of Writing, Shennong Tastes the Herbs, Houyi Shoots Down the Nine Suns, Kuafu Chases the Sun, Dayu Controls the Floods, and Nuwa Creates Humanity and Nuwa Repairs the Sky. This interdisciplinary approach linked language, literature, and visual culture. However, since the project was no longer part of the oral expression assessment and carried reduced weight in the final grade, student motivation declined despite continued tutor support.

In response, the third cycle (2024–2025) structurally reintegrated the audiovisual project into the formal syllabus. Students adapted historical and moral stories such as Guangong Visits the Doctor, Kongrong Shares the Pears, The Monkey King Sun Wukong, Doctor Hua Tuo, and The Tiger and the Fox, using both written and audio models. The audiovisual work again became part of the continuous assessment for Lengua China III and IV, contributing to the evaluation of both oral proficiency and overall academic performance. Teachers provided continuous linguistic, technical, and cultural support throughout the process, in and beyond the classroom.

As a result, the 2024–2025 cycle exhibited marked improvements in video quality—clearer pronunciation, higher linguistic accuracy, and more coherent editing—accompanied by notably positive student feedback and stronger engagement.

4.1 Qualitative findings

Thematic coding of reflective journals identified three recurring dimensions: (1) motivation through creative autonomy, (2) peer mediation as linguistic scaffolding, and (3) emotional engagement through multimodal composition. Students described the audiovisual tasks as «different from traditional classroom exercises», emphasizing the sense of agency and collaboration.

The second theme—peer mediation—emerged strongly in the 2024–2025 cycle, where students often assumed corrective roles typically performed by the instructor. Observation notes documented spontaneous moments of language tutoring between peers, such as pronunciation modeling and script editing.

The third theme, emotional engagement, appeared most prominently during the resource collection and audio synchronization phases. Students frequently reported anxiety about phonetic accuracy in their recordings but later described a sense of pride upon viewing the final product. Reflective journals show that the public presentation of their videos in class or online provided a strong motivational stimulus.

However, in the 2024–2025 cycle, emotional investment appeared slightly lower compared to the previous year, corresponding to a moderate decline in creativity scores (from 86% to 80%). This suggests that while students maintained commitment to the project, factors such as limited teacher presence and reduced group interaction during the final editing stage may have affected sustained emotional engagement.

4.2 Quantitative synthesis

Descriptive statistics from questionnaire data revealed that students’ perceived motivation and satisfaction increased consistently across the project cycles. The mean self-reported motivation score rose from 3.8/5 in 2022–2023 to 4.4/5 in 2024–2025. Although the last cycle’s sample was limited (n = 5), responses aligned closely with prior years’ patterns, suggesting that the cooperative audiovisual model maintains its motivational impact even under constrained conditions. Internal reliability of the questionnaire remained high (Cronbach’s α = 0.86), confirming stable measurement of attitudinal constructs across cohorts.

A cross-year comparison indicates that students increasingly associated collaborative production with linguistic improvement rather than merely as an entertaining task. In 2022–2023, 63% of participants described the activity as «fun but difficult», while in 2024–2025, 80% considered it «motivating and useful for improving pronunciation and fluency».

Table 3 presents the original mean rubric scores (1–5 scale) corresponding to the percentage visualization shown in Figure 1.

Scores represent mean ratings assigned by two independent evaluators using the audiovisual production rubric (1 = insufficient; 5 = excellent). Percentages shown in Figure 1 correspond to normalized visual representations of these mean scores.

Table 3 shows the mean rubric scores obtained across the three instructional cycles. Overall, the scores remained stable or improved across most evaluative dimensions. Visual and auditory clarity and pronunciation and intonation exhibited the most noticeable progression between 2022–2023 and 2024–2025, while cultural relevance remained consistently high throughout the project cycles.

4.3 Integrated interpretation

When qualitative and quantitative findings are considered together, the data suggest that cooperative audiovisual production may support both linguistic development and intercultural engagement in CFL learning. Improvements in pronunciation, narrative organization, and collaborative participation were observed across the three project cycles, while reflective data highlighted the role of peer interaction and creative autonomy in sustaining learner engagement. These findings will be further discussed in relation to symbolic competence, learner autonomy, and multimodal pedagogy in the following section.

Overall, the results align with the theoretical framework that cooperative learning in multimodal contexts constitutes an effective pedagogical model for CFL instruction. The next section will discuss these findings in relation to broader frameworks of symbolic competence, learner autonomy, and intercultural communication.

Nevertheless, the findings should be interpreted cautiously. Some of the observed improvements may derive not only from cooperative audiovisual methodology itself, but also from repeated exposure to Chinese language input across semesters, increased familiarity with project-based learning, or the motivational effects of assessment integration. Furthermore, differences in teacher support across cycles may have influenced group cohesion and emotional engagement. These factors suggest that the pedagogical impact of audiovisual storytelling emerges through multiple interacting variables rather than through a single instructional mechanism.

5. Discussion

The results obtained from the three instructional cycles suggest that cooperative audiovisual storytelling may function as a productive pedagogical strategy for supporting linguistic and intercultural learning in Chinese as a Foreign Language (CFL) contexts. The data indicated observable progress in pronunciation, narrative organization, and technical production skills, accompanied by a steady rise in students’ motivation and sense of collective ownership.

The following subsections provide a comprehensive response to the research questions (RQs) posed in the introduction, interpreting the findings through theoretical, symbolic, and pedagogical lenses.

5.1 Theoretical interpretation of the findings

In response to the first and second research questions (RQ1 and RQ2), which address linguistic development and learner motivation, the findings reveal that the project’s structure fosters both cognitive growth and sustained engagement.

From a theoretical perspective, the study reinforces the social constructivist assumption that learning is an inherently collaborative process. The interaction among peers during planning, resource collection, and digital editing provided authentic communicative situations that encouraged the spontaneous use of Chinese. Such interaction illustrates what Vygotsky described as the Zone of Proximal Development (ZPD), where learners progress through the support and mediation of others. In this project, peer correction and group discussion acted as micro-contexts of mediation. Students often corrected each other’s pronunciation during audio production sessions, a process described by Johnson et al. (1999: 33) as «positive interdependence», a hallmark of effective cooperative learning where group success depends on the contribution of each member. This structure encourages individual accountability, as each learner takes responsibility for both personal and collective linguistic outcomes.

The sense of interdependence played a vital role in maintaining engagement over long production periods. Participants frequently reported that they did not want to «let the team down», highlighting how social accountability motivated sustained effort. The correlation between balanced workload distribution and high project quality reinforces the idea that task design is a primary driver of sustained engagement. Our findings echo Dörnyei’s (2001) argument that motivation in collaborative language projects is sustained when tasks are perceived as both meaningful and manageable. In the 2024–2025 cycle, by reintegrating the project into the formal syllabus and providing structured teacher support, the task shifted from an overwhelming extracurricular burden to a manageable curricular component, thus stabilizing student motivation.

At the motivational level, the project confirmed that students’ intrinsic motivation was strengthened when learning tasks were creative and socially meaningful. The shift in student perception—from seeing the project as «fun but difficult» (2022–2023) to «motivating and useful» (2024–2025)—underscores a developmental movement from external to self-regulation. This aligns with Vygotskian perspectives on mediated learning, in which social collaboration fosters internalization and autonomous engagement (Lantolf et al., 2020). The act of producing a digital story in Chinese transformed abstract linguistic objectives into tangible, expressive products. Students experienced pride and ownership when watching their completed videos, recognizing themselves as capable users of the language.

The findings also resonate with Dewey’s notion of experiential learning, where knowledge is constructed through reflection on concrete experience (Miettinen, 2000). The audiovisual projects provided iterative cycles of planning, action, and reflection, encouraging students to think critically about both linguistic form and communicative purpose. This reflective practice transforms learners into researchers of their own process, bridging theory and experience. Moreover, the ecological perspective on learning (Van Lier, 2004) helps explain how the interaction between students, tools, and contexts generated emergent forms of meaning-making that could not have occurred through traditional instruction alone. Each production session became a microcosm of communicative ecology, where linguistic negotiation, technical experimentation (such as audio-visual sequencing), and peer dialogue converged to create situated learning experiences.

At the same time, these findings should be interpreted cautiously. Improvements in students’ performance may not derive exclusively from the cooperative audiovisual methodology itself. Other factors—such as increased familiarity with course expectations, repeated exposure to spoken Chinese, or the progressive refinement of instructional support across project cycles—may also have contributed to the observed development. In this sense, the absence of a control group prevents establishing direct causal relationships between the intervention and learning outcomes.

5.2 Symbolic and cultural dimensions

Regarding the third research question (RQ3), the findings illustrate how audiovisual storytelling functions as a catalyst for creative autonomy and symbolic mediation.

Beyond its linguistic benefits, the project served as a space for symbolic mediation—a process through which students internalize cultural meanings by reconstructing them in a new semiotic form. By adapting Chinese stories into audiovisual narratives, learners were not simply repeating known content but reinterpreting it through their own voices and perspectives. This process led to a deeper understanding of cultural symbols, values, and emotions embedded in the original texts.

The observed competence in audiovisual sequencing by aligning linguistic segments with visual imagery, reflects what Sewell (2022) terms symbolic mediation. In this context, learners use multimodal tools not only to communicate but to construct meaning collaboratively, transforming technical manipulation into a cognitive bridge for language internalization.

Several students described moments of discovery when translating cultural metaphors or visual motifs from Chinese stories into visual language. For example, the recurring theme of harmony between humans and nature in traditional tales was reimagined through visual imagery rather than direct linguistic explanation. Such reinterpretation demonstrates symbolic competence: the ability to navigate meaning across languages, media, and cultures.

The production process also blurred the boundary between learning about culture and learning through culture. The emotional engagement that accompanied voice-over recording, script adaptation, and digital editing became an affective bridge to cultural understanding. When students vocalized and visualized roles based on Chinese characters, they were not only reproducing dialogues but embodying cultural worldviews—experiencing empathy, ritual, and symbolism in lived form. The cooperative nature of the task further deepened this symbolic engagement: through discussion and negotiation, students collectively decided how to represent cultural nuances, reinforcing intercultural sensitivity.

The results also point to a transformation in the learners’ relationship with language itself. Rather than perceiving Chinese as an external system of rules, many students appeared to perceive Chinese increasingly as a creative instrument through which ideas could be imagined, shared, and made visible. This shift from instrumental to expressive use of language may represent a step toward greater communicative and symbolic engagement.

Another symbolic dimension concerns the aesthetics of learning. Students’ audiovisual creations became symbolic artifacts that embodied their evolving identities as multilingual individuals. Through the process of narrating and visualizing Chinese stories, they enacted a form of cultural translation that went beyond language proficiency to include empathy, aesthetics, and imagination. This creative embodiment of cultural meaning corresponds to Kramsch’s (2021) expanded notion of symbolic competence as the ability to position oneself within and across semiotic systems. In this sense, the act of audiovisual creation becomes not merely a pedagogical technique but a symbolic performance of intercultural belonging.

5.3 Pedagogical implications

Building upon the responses to the three research questions discussed in the previous sections, several pedagogical implications can be drawn from this study.

First, the results highlight the potential of integrating cooperative learning principles with multimodal digital production. The design of such projects may benefit from clear role distribution and shared accountability, allowing each student to contribute according to their strengths—script adaptation, voice-over recording, resource curation, or digital editing. When group dynamics are well structured, cooperation becomes a source of mutual reinforcement rather than conflict.

Second, audiovisual production can serve as an authentic environment for language practice. Instead of limiting oral performance to classroom dialogues, students use the target language in a communicative context with a real product at stake. The process of audio recording and synchronization naturally requires repeated rehearsals, providing extensive pronunciation practice in meaningful situations. Moreover, because audiovisual tasks demand planning and narrative coherence, they foster deeper syntactic awareness and textual organization skills.

Third, instructors play a crucial mediating role in this process, not only as language experts but as facilitators of collaboration. The findings suggest that providing initial technical guidance and maintaining open communication channels are essential for sustaining motivation. Furthermore, integrating the project into the formal syllabus and assessment framework is vital; as seen in the 2024–2025 cycle, treating the project as a core curricular component rather than an extracurricular task stabilizes student commitment and ensures academic rigor. Teachers must balance freedom with structure, allowing creative exploration while ensuring that linguistic goals remain central.

Fourth, the study suggests that audiovisual storytelling can complement traditional reading-based instruction by turning literary comprehension into creative action. When students reinterpret Chinese literary texts through digital narratives, they internalize vocabulary, cultural imagery, and narrative rhythm more deeply than through passive reading alone. The combination of reading and creation thus builds a cyclical process: comprehension inspires production, and production consolidates comprehension.

Finally, this model demonstrates how digital tools can extend cooperative learning beyond the classroom. Shared online folders, collaborative editing software, and peer review platforms allow continuous interaction and reflection. Even with limited institutional resources, basic digital literacy enables students to co-construct knowledge and meaning through technology. The integration of digital collaboration with cooperative pedagogy helps learners develop multimodal communication skills relevant to contemporary multilingual environments.

5.4 Limitations and future directions

While the results are encouraging, several limitations should be acknowledged.

The most evident is the small sample size of the final cycle (n = 22 students, 5 completed questionnaires). Due to the exploratory nature of the study and this limited response rate, the quantitative findings should be understood as descriptive rather than conclusive. The absence of inferential statistical analysis further limits the possibility of establishing statistically significant relationships among variables. Although cross-year comparisons partially mitigate these limitations, future research should include a larger and more diverse population to confirm generalizability. Expanding the study to different educational contexts—secondary schools, heritage learners, or online courses—would also provide valuable insight into how cooperative audiovisual tasks function across learning environments.

A second limitation concerns the uneven technical conditions among groups. Differences in digital competence and access to editing software occasionally affected the quality of audiovisual outputs. Future implementations could provide standardized technical training or access to basic media kits to ensure fairness and to isolate linguistic from purely technical variables.

Third, while this research focused on linguistic, motivational, and symbolic dimensions, it did not quantitatively measure intercultural competence. Future studies could employ validated intercultural assessment instruments or analyze discourse patterns in students’ scripts and digital narratives to capture how cultural understanding evolves through cooperative creation.

Another point for further exploration is the longitudinal impact of such projects. It would be worthwhile to examine whether students retain the linguistic and symbolic gains after several months or whether these outcomes are primarily short-term. Similarly, qualitative follow-up interviews could reveal how participants transfer creative and cooperative skills to other academic or professional settings.

Finally, the increasing presence of generative artificial intelligence and advanced digital editing tools opens new pedagogical possibilities but also ethical questions. Future iterations of the project could investigate how AI-assisted translation, voice synthesis, or AI-generated imagery might support or hinder authentic language production. The challenge for educators will be to harness these technologies without diluting the cooperative and creative essence of learning.

In summary, despite these limitations, this study suggests that cooperative audiovisual storytelling constitutes a promising pedagogical strategy for modern CFL education. It not only promotes measurable linguistic improvement but also nurtures creativity, empathy, and intercultural awareness. The combination of collaboration and multimodal digital creation encourages learners to perceive themselves as active participants in a living linguistic and cultural community rather than as isolated students. Ultimately, the most meaningful outcome observed was attitudinal: students began to perceive Chinese not as a distant or difficult code, but as a medium through which they could express imagination and emotion. This emotional and symbolic identification with the language represents the deepest form of learning—one that transcends grammar and vocabulary to reach personal and cultural meaning.

6. Conclusions

The integration of narrative reading, multimodal production, and cooperative learning provides a robust framework for the linguistic and cultural development of university-level Chinese learners. Through three consecutive cycles, this study demonstrates that students not only enhance their functional language skills but also cultivate profound symbolic awareness and intercultural competence.

Central to this success is the institutional anchoring of the project. By embedding creative production within the formal syllabus and assessment framework, the project transcends extracurricular experimentation to become a recognized learning pathway. This integration ensures sustained student motivation and bridges the gap between artistic expression and academic achievement. Furthermore, the shift from passive consumption to active digital creation enables learners to reimagine literary narratives through their own visual and vocal lenses. In this multimodal space, students move beyond rote memorization to construct and communicate complex cultural meanings.

Despite these gains, the project underscores the necessity of pedagogical scaffolding. Challenges in group coordination and technical anxiety—particularly during voice-over recording—highlight that creative freedom must be balanced with structured guidance. The instructor’s role remains paramount, not merely as a language expert but as a facilitator of group cohesion and collective creativity.

In conclusion, this research establishes that synthesizing narrative reading with multimodal creation redefines the language classroom as a space for meaningful, collective, and creative agency. By positioning learners as digital creators, this approach aligns Chinese language education with the expressive realities of the contemporary world, empowering students as active participants in a globalized semiotic landscape.

Author contribution statement

The authors contributed to the work as follows:

Xiaoling Wang was responsible for the conceptualization and overall design of the study, as well as for methodology, data collection, formal analysis, and curation. She drafted the initial version of the manuscript, contributed to its subsequent revisions and editing, and prepared the visual presentation of the findings.

Aurora Centellas Rodrigo contributed to the refinement of the methodology, the critical review of the manuscript, and provided substantive feedback during the final revision process prior to submission.

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