FINAL REPORT – 12/3/11

SHORELINE COMMUNITY COLLEGE

DRAMA, CINEMA, PERFORMANCE ARTS + DIGITAL FILMMAKING

PROGRAM REVIEWFall 2011

Prepared by Karen Demetre, Consultant

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TABLE OF CONTENTSPURPOSE......................................................... 3

METHODOLOGY……………………………... 4

CONSULTANT REPORTFindings on Program Review Elements Assessment …………………………………….. 5

Program Information…………………………… 8Student Data Trends…………………………… 11

Curriculum………………………………………. 28 Faculty……………………………………………. 32Resources……………………………………….. 34Schedule of Classes…………………………… 36Partnerships…………………………………….. 38

Support Services………………………………. 39Revenue Potential……………………………… 41The Virtual College…………………………….. 41Competition………..……………………………. 42Program Access………………………………... 45Labor Market Opportunities………….………. 46

Analysis of Findings Institutional Issues…………………………....... 48

Program Strengths……………………………… 49 Recommendations…………………………....... 51

APPENDIXFaculty Response..……………………………… 54

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Student Survey Results………………….......... 64 Advisory Committee Survey Results………… 73

Additional Program Data……………………….. 76PURPOSE

The purpose of the program review process at Shoreline Community College is continuous quality improvement. This process is scheduled on a five year cycle across all instructional areas at the college.

This process serves to meet standards established by the State Board for Community and Technical College Education and the Northwest Commission on Colleges and Universities. Relevant accreditation standards are listed below:

4.A Assessment

4.A.1 The institution engages in ongoing systematic collection and analysis of meaningful, assessable, and verifiable data – quantitative and/or qualitative, as appropriate to its indicators of achievement – as the basis for evaluating the accomplishment of its core theme objectives.

4.A.2 The institution engages in an effective system of evaluation of its programs and services, wherever offered and however delivered, to evaluate achievement of clearly-identified program goals or intended outcomes. Faculty has a primary role in the evaluation of educational programs and services.

4.A.3 The institution documents, through an effective, regular, and comprehensive system of assessment of student achievement, that students who complete its educational courses, programs, and degrees, wherever offered and however delivered, achieve identified course, program, and degree learning outcomes. Faculty (members) with teaching responsibilities are responsible for evaluating student achievement of clearly-identified learning outcomes.

4.A.4 The institution evaluates holistically the alignment, correlation, and integration of programs and services with respect to accomplishment of core theme objectives.

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METHODOLOGYFirst Committee Meeting

(orientation including full-time faculty, division dean, workforce dean, institutional researcher, and consultant)

Qualitative Information Collected College website, planning guides, brochures Schedule of Classes Class Waitlists and Clustering Faculty Input (written assignment) Student Surveys (49 current students: 2/3 in their first year

and 1/3 in the program two to four years) Advisory Committee Roster + Meeting Minutes Advisory Committee Surveys (2 of 11 members) Faculty Group Interview Division Dean Interview

Quantitative Information Collected Faculty teaching loads (full-time and part-time) Division budget figures Annualized FTES, Headcount, and % of Enrollment

(by program and by certificate + degree) Student demographics (age, gender, ethnicity, academic +

economic disadvantage) Completion of degrees and certificates Student grade distributions State and college comparative data on S:F ratios State employment data on former students

Preliminary Report (presented to faculty/dean for feedback and revision by consultant)

Final Committee Meeting

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(discussion of consultant’s report + program review process)

Completion + Distribution of Final Program Review Report

CONSULTANT REPORT Drama, Cinema, Performance Arts +

Digital Filmmaking Program - Fall 2011

ELEMENTS REVIEWED, FINDINGS, + ANALYSIS

1. ASSESSMENT (FAC. REPORT Pg 54)

TOOLS TO ASSESS PROGRAM OUTCOMES1.1 Program outcomes have been established for the AAAS/AAS-T degree and

are clearly stated in the program website, planning guides, and college catalog. Published program outcomes mention collaboration and professional behavior in the workplace, which are important for continued employment. It is suggested that wording about written and verbal communication skills be included to provide a more explicit reference to general education outcomes. Also, outcomes could mention self-promotion and entrepreneurial skills needed to work freelance. Many courses emphasize these skills; and faculty is receptive to formalizing that expectation in the list of program outcomes.

1.2 Faculty indicates it is a challenge is to provide students with enough studio access to meet the outcome for managing lighting and equipment in that setting; however, classroom instruction helps prepare them for those experiences.

1.3 As regards the certificates, one outcome for Writing/Directing is to “Write a successful short script.” More descriptive language could clarify what is meant by “successful”. For the Acting certificate one outcome is to “Work with actors, writers and directors of varying skill levels and working styles.” This could be strengthened by revising it to say “Work effectively.”

1.4 Advisory committee feedback shows lack of familiarity with published program outcomes, which is due in part to changing membership. Since program outcomes provide the foundation for curriculum development and assessment of student learning, it is beneficial to periodically review these with the committee to deepen their understanding of the program and the language of learning outcomes. It would also be worthwhile to encourage more committee evaluation of student work.

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1.5 Program faculty is skilled at assessing student learning in their discipline and employs a variety of methods to accomplish this. When the digital filmmaking program outcomes were revised a few years ago faculty embedded appropriate program outcomes into learning outcomes for different classes. Authentic assessment of students’ abilities and job-related performance occurs throughout the curriculum (e.g. projects, production assignments, performances). Many excellent opportunities are provided for students to apply knowledge and learn through experiential and “real life” experiences.

1.6 A formal system does not exist for tracking aggregate data for indicators or measurements that demonstrate achievement of overall program outcomes. Monitoring of student learning over time typically occurs within individual courses by instructors who evaluate projects, performances and other samples of student work. Assessment of student learning on a program-wide basis over time is general and uses periodic feedback from current students and advisory committee members. Faculty has conducted cross-class assessment of the outcome on “Working effectively in groups to create video projects.” They have also made progress by utilizing self-evaluation and supervisor-evaluation of the mandatory internship for the AAAS-T degree which enables more diligent tracking of results for program outcome #7 (“knowledge of professional set behavior, collaboration techniques, and ethics”) and program outcome #8 (“familiarity with various filmmaking industry opportunities in the Puget Sound region and beyond.”).

1.7 Self-perception alone does not equate with authentic assessment of learning, but a favorable finding is the large percentage of survey respondents who give high ratings for how well their individual learning needs were met (84%) and how well they were prepared for employment (80%). This indicates that most current students are satisfied with their education in the program and believe it provides adequate preparation for working in the field.

1.8 Student data from the institutional researcher is another tool to assess program outcomes (such as patterns of course completion and grades earned).The college has started using “Dashboards” for analysis of departmental data on an annual basis; however, data is difficult to gather for this program due to the integration of coursework across disciplines. The program is fairly new as a prof-tech option; and it was previously under the Communications discipline as an academic program until it changed it to Performance Arts/Digital Filmmaking with the Film discipline prefix.

1.9 Another strategy is to select samples of student work across the program and annually document student performance levels on these. Data collection could be structured to address some of the following questions:

What projects or student work samples best represent program learning outcomes? (i.e. selected assignments, projects, presentations, exams?)

How well are students performing on these work samples? (the percent of students who meet or exceed minimum standards, or the percent of students who achieve essential competencies)

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What are faculty expectations for overall student achievement in the program; and how well are these being met over time? (Example: XX% of students meet minimum standards for XXXX assignment, which is X% above/below our program outcome goal)

Faculty has just started to require students to create resumes and show reels of their work before exiting the program. These are excellent examples of student achievement in the program; and maintaining aggregate records on the quality of these over time could give valuable insights on attainment of program outcomes.

1.10 Graduate follow-up consists of occasional conversations with former students that contact faculty to keep them informed. Graduates express high regard for the faculty and program; and faculty is satisfied with abilities of students who complete the program. However, faculty indicates more feedback from former students would better validate these perceptions. This is difficult to achieve with limited time and resources. The program has an active Face Book page, but participation is small. Resources or staff support are needed to conduct focused graduate follow-up activities and systematically compile results. There is interest in utilizing an email list serve for surveying and communicating with current and former students, which might be accomplished by employing a work study student to develop it and summarize results. Although this continues to be a goal, it is difficult to achieve due to competing priorities. The College initiated a general survey to graduates from programs across the college, but the survey cannot distinguish Film students from any others. Thus, specific survey responses from film program graduates were not available for review. In the future, it would be advisable for the college survey of former students to identify their areas of study in order to provide feedback that is useful for program review.

1.11 State data on employment of former students (completers + early leavers)shows variable rates of employment. Around 60% of former students are employed one year after leaving the college, which reflects the economic downturn. Faculty describes numerous types of positions for graduates and positive anecdotal evidence; however, there is no systematic data collection from follow-up with former students.

TOOLS TO ASSESS GENERAL EDUCATION OUTCOMES1.12 Master course outlines identify general education outcomes addressed by

courses; however, specific guidelines/criteria or performance levels (rubrics) for assessing achievement of general education outcomes have not been defined by the college. Since many courses and assignments or projects include multiple learning outcomes it is sometimes difficult to isolate and collect assessment data on individual general education outcomes. Although it is assumed that passing grades provide evidence of achieving general education outcomes, this area of assessment could be further refined as shown in the following chart:

General Education Outcomes Learning Outcome

Assessment Measure

Data Collected Evaluation of Data Actions Taken

List here the measures the program uses to

List here the specific data

Describe here what the data mean.

Describe the actions taken, based on the

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assess progress toward the outcome (grades or quality of selected projects/ portfolios, stud or grad. surveys, placement data, re-tention statistics, etc.)

collected evaluation of the data

Quantitative Reasoning

Communication

Multicultural Understanding

Information Literacy

Gen. Intellectual AbilitiesGlobal Awareness

1.13 Many courses in the program require writing projects or assignments, oral presentations, group discussion, group work, problem-solving, and role play. These experiences provide samples of student performance that faculty can use to assess development of students’ writing and verbal communication skills. Assessing general education outcomes is relevant because they are very important for success in the workplace.

EVIDENCE OF ACTION BASED ON ASSESSMENT FINDINGS 1.14 Faculty continually evaluates student learning in their classes and seeks input

from students and advisory committee members. Examples of action based on assessment findings include modified instructional strategies such as: (1) adding peer evaluations (oral and written) to provide more rigorous grading; (2) incorporating group evaluations of production projects to emphasize teamwork/collaboration; and (3) shifting from assignments to actual film production projects to provide problem-based learning.

2. PROGRAM INFORMATION (FAC. REPORT Pg 55) ACCURACY2.1 Academic planning guides on the website are generally accurate and

complete; although there are delays in updating course names on planning guides due to workload issues for the Workforce Education Office secretary.

2.2 The website and planning guides provide helpful information about approximate quarterly costs including tuition, books, and various fees.

2.3 Last year faculty suggested revisions for the annual class schedule on the college website; and now they need to recheck accuracy to ensure appropriate changes have been implemented. Courses offered on a periodic (as needed) basis have not been included in the annual class schedule due to enrollment

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management constraints. The need to run full classes may sometimes result in last minute cancellations if a cluster is not workable.

RELEVANCY2.4 The program webpage has an attractive layout with an appealing video that

features student testimonials and faculty interviews. Various degree options are explained along with information on transfer to Central Washington University’s Film & Video Studies Program. The college is developing plans to enhance the college website and give faculty more input to improve the program website.

2.5 The program brochure does not include program outcomes to inform students of intended learning for these educational pathways. It is advisable to include program outcomes in the program brochures/flyers when possible.

2.6 Surveyed students provided a range of responses about helpfulness of program information (website and printed materials). Around two-thirds (64%) of respondents rated it as good or excellent; however, 30% rated it fair to poor, which indicates the need for improvement. This may relate to the difficulty some students encountered navigating the college website. They state that some pertinent information is lacking and format is confusing (not intuitive for users). The A-Z Index has three listings for program options (Cinema, Drama, and Film) which provide pathways to reach program specific information. Three years ago a professional design team was hired to create a new website for the Film/Drama program which was simple and easy to navigate. The Public Information Office would not allow it to become operational because it did not look like the college site. Since the coding and information are still available, faculty hope it can be utilized in the future.

2.7 Program information on the website and brochure describes job opportunities.

Greater emphasis could be placed on the fact that positions have become more competitive, but opportunities do exist for graduates with strong skills and active job search efforts. Entrepreneurial skills are needed to work freelance.

2.8 Planning guides for the AAAS/AAS-T degree and two certificates list required courses and electives plus information on prerequisites. Course sequencing can be variable and students usually gain access to courses they need; however, academic planning might be better supported if markers were attached to courses only offered once per year (i.e. 5 of 8 Film courses and 5 of 13 Drama courses). A consistent symbol (#, *, etc.) could be used to identify these courses on the planning guides.

CURRENCY2.9 Program information and curriculum on the website is generally current.

2.10 Planning guides have been updated in the last year, although updating forcourse titles has been delayed due to secretary workload issues (stated in section 2.1). These documents include helpful reminders about course prerequisites and other information that supports academic planning.

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2.11 The program brochure is appealing, but needs updated information on certificates as well as degree and transfer options. Also, a reference source cited for employment and salary information is valuable, but content is becoming dated (2008). Faculty created a new brochure including information that lines up with the new degree option (a faculty member has the disc with these files) along with a website plan which was not permitted to be activated. Printing of new brochures was delayed because there were so many old ones that it seemed wasteful, but subsequently the old brochure was sent to the printer without asking faculty about changes. This communication breakdown between departments wastes limited resources; and constraints imposed on the design and content for all printed material hampers proper marketing of the program.

2.12 Faculty struggles to maintain accuracy of program informational materials(i.e. degree planning sheets, brochure, etc.).The one full-time faculty member also teaches in the transfer area (Drama) and has limited time to do all the extra paperwork and coordination functions for the prof--tech program.

CONGRUENCE2.13 Consistent headings and information about the AAAS Degree are evident

in the program website and printed planning guides (i.e. quarterly costs, program description, etc.). Courses are categorized as general education requirements or foundational requirements, which clearly indicates that accreditation standards have been fulfilled.

2.14 Content is generally consistent for the website, program brochure, and planning guides; however, the naming conventions are inconsistent. These sources refer to the program as Performance Arts and Digital Filmmaking, but the program is actually integrated with the Drama/Cinema academic transfer program and the professional-technical option is often referred to as the Film /Video program. On the college inventory from the state, it is called Digital Film Production, Acting for Stage and Camera and Writing and Directing for the Camera (formal names of the degree and two certificates, respectively). One instructor mentioned that Media Arts is a newer term which should be considered for the program (with the possibility of including VCT). It is suggested that the program recommend a current title to be implemented consistently, if needed.

2.15 At the time of this writing the printed brochure did not show current certificates. That problem will be rectified when an updated brochure is available.

ACCESSIBILITY 2.16 Most program information is provided through word-of-mouth and the website.

The college has no staff or funding to develop a managed marketing plan for the program. Enrollment is primarily supported by the good reputation of the program and professional networking of faculty; however, more support for marketing could increase program enrollment and the number of under-represented students (especially females).

2.17 Three separate listings for program options (Cinema, Drama, and Film) are shown in the A-Z Index on the college website. Program information is also found by clicking on the Professional-Technical Program link.

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2.18 Limited copies of the printed college catalog are available, but the website provides similar information. Other printed materials include program brochures and planning guides available in various locations across the campus.

3. STUDENT DATA TRENDS (FAC. REPORT Pg 56)

NOTE: The following charts and graphs have been prepared by Joe Duggan, Assistant Director, Institutional Effectiveness and Strategic Planning at Shoreline C.C. Since some data points are new, the data is not useful for historical review. The most accurate data for this professional-technical program is represented by the last two academic years (2009-2011).

NOTE: Problems with accuracy of students’ reported program intent codes affects institutional data used in this review. Many students continue to crossover between Film, VCT, and Music for a period of time before their intent code becomes accurate. The data reflects students who report educational intent (program codes) for:

7401 Digital Film Production (AAAS)7403 Digital Filmmaking Technology (Certificate – old)7404 Writing and Directing for the Camera (Cert)740T Digital Film Production (AAS-T Degree – no entries)

NOTE: Labels on graphs refer to the program as Film (rather than Performance Arts)

NOTE: Through 2008-09, film courses were designated as academic transfer courses(Communication). When common course numbering was implemented a new course designator (Film) was adopted.

ANNUALIZED STATE FTES – BY ACADEMIC YEAR

3.1 The professional-technical program (Cinema/Drama/Performance Arts/Digital Filmmaking) earned around 30 annualized FTES in 2010-11, which is 37% lower than the high point in 2008-09. This decline may relate to the loss of two full-time faculty members (one resigned and another retired). Also, it is important to note that prof--tech courses enroll many academic transfer students who are not reflected in this data (Note: one annualized full-time equivalent student = 45 credits/year). Faculty reports that enrollment and FTEs in their classes have been steadily rising over the past three years; however, data for this program review is based on students’ declared intent codes (EPC = educational program codes); and it excludes students who are undecided or pursuing transfer associate degrees. Erroneous student reporting of intent codes compromises accuracy of program enrollment data. Also, results depend on who collects data and how it is categorized (i.e. by EPC or by discipline).

3.2 Although this is one of the smaller professional-technical programs at the college, AAAS enrollment increased noticeably during 2010-11. These students also enrolled in many academic transfer courses outside of the technical curriculum. Prof-tech classes have filled quickly this year; and faculty accepts overloads by absorbing students on wait lists. This growth is due to multiple factors including:

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elimination of similar programs in the area, the economic recession, availability of financial aid for worker retraining, increased visibility of the program (due to faculty and student work recognized by organizations and media), and Tech Prep articulations with local high schools.

3.3 Factors negatively impacting enrollment include increased tuition/fees and lack of a dedicated full-time prof-tech instructor or an affiliate part-time faculty position to support student advising and marketing/community networking. It should also be noted that the full-time faculty member teaches only Drama courses, though film work may be included. There are no full-time Film faculty.

AnnlStateFTES By Year/Award

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A89 A90 B01

Year

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Dig Fi lm Prod - AAAS

Dig Fi lm Tech

Write/Dir Cert

AnnlState FTES BY Academic Year Act/Stage Cert Dig Film Prod - AAAS

Dig Film Tech Write/Dir Cert

Grand Total

A89 11.60 0.42 20.80 14.87 47.69A90 14.29 0.38 16.71 10.16 41.53B01 7.60 6.44 8.16 8.07 30.27Grand Total 33.49 7.24 45.67 33.09 119.49

ANNUALIZED STATE FTES - BY PROGRAM OPTION

3.4 For 2010-11 all program options (degree and certificates) generated similar numbers of AnFTES. Although the AAAS option had the least AnFTES, it increased while enrollment for all certificates decreased. The AAAS degree is clearly a desirable option for students in this program. As a percentage of overall program AnFTES, the AAAS degree option represents around 21% while each of the certificates provides 25-27%.

PERCENTAGE of AnnlStateFTES Academic YearsA89 A90 B01

ACTING FOR STAGE & CAMERA- CeRT 24.33% 34.40% 25.11%DIGITAL FILM PRODUCTION - AAAS 0.89% 0.91% 21.29%

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DIGITAL FILMMAKING TECH - CERT 43.62% 40.24% 26.94%WRITING & DIRECTING/CAMERA-CERT 31.17% 24.45% 26.65%

Grand Total 100.00% 100.00% 100.00%3.5 The student survey shows the program serves a large number of degree-

seeking students - more than one third respondents (37%) are seeking a prof-tech degree (AAAS in Digital Film Production) and slightly more (42%) are pursuing AA degrees including the AA-DTA or the general AA degree with emphasis on either Cinema and Media Studies or Dramatic Arts.

STUDENT HEADCOUNT and PERCENTAGE OF PROGRAM ENROLLMENT

3.6 A three-year comparison of annual student headcount in the overall program shows decline in 2010-11 (with the exception of the AAAS option). Student headcount is currently similar across program options (degree and certificates).

STUDENT HEADCOUNT

Program Option A89 A90 B01Grand Total

Act/Stage Cert 27 34 21 82Dig Film Prod - AAAS 2 1 14 17Dig Film Tech 41 39 20 100Write/Dir Cert 23 21 16 60Grand Total 93 95 71 259

PERCENTAGE OF STUDENT HEADCOUNT

Program Option A89 A90 B01Act/Stage Cert 29.03% 35.79% 29.58%Dig Film Prod - AAAS 2.15% 1.05% 19.72%

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Dig Film Tech 44.09% 41.05% 28.17%Write/Dir Cert 24.73% 22.11% 22.54%Grand Total 100.00% 100.00% 100.00%

3.7 Data from the State Board reports an annualized total student-to-faculty ratio based on a CIP code that most closely matches coding of the Shoreline C.C. professional-technical program (but with a different name, i.e. Photo & Film/Video Tech). Over the last two years the program has noticeably increased the student-to-faculty ratio. Higher class fill-rates reflect faculty efforts to improve efficiency, program visibility and community outreach. For the last two complete academic years (2009-2011) the student-to-faculty ratio has remained very close to the state-wide average for similar community college programs. Curriculum change may impact future student-to-faculty ratios.

2009-10 2010-11S:F Ratio - SCC 15.42 17.46S:F Ratio - STATE 15.74 17.46

Note: This data does not provide a perfectly accurate measure, because of the interdisciplinary nature of this program (including academic transfer and prof-tech classes) and clustering of classes that may distort findings.

STUDENT GENDER: ENROLLMENT COUNT AND PERCENTAGE

3.8 Male students constitute the overall majority of students in the program (around 69% of student headcount reported in 2009-10) and have higher representation in each program option. Representation of males and females is fairly close in the Acting certificate, but is significantly divergent in the other options (around 10-20% more males than females).

3.9 Over the last three years the number of women in the overall program hassteadily declined by about one third (from 40% to 25%), while the percentage of male students has increased about 20% during this period (from 57% to 69%). A favorable outcome was the increased number of female students in the AAAS degree option during 2010-11. Under-representation of female students is consistent with the industry which is male-dominated. The need for recruiting female applicants has been discussed with the advisory committee; and efforts have been made to provide support through a grant-funded student club.

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NOTE: Refer to APPENDIX for detailed charts showing 3-year headcount and percentage of male and female students in each program option.

OVERALL PROGRAM ENROLLMENT (Including Degree and Certificates)

HEADCOUNTS PERCENTAGESYear F M Year F MA89 37 53 A89 40% 57%A90 36 58 A90 38% 61%B01 18 49 B01 25% 69%

Note: Some students in the total headcount did not report their gender, which explains why percentages of male and female students do not add up to 100%.

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STUDENT ETHNICITY: ENROLLMENT COUNT + PERCENTAGE

3.10 In 2009-10 white students comprised around two thirds (67%) of program enrollment. Representation for several groups of non-Caucasian students (African American, Asian Pacific Islander, Other Race) increased since 2008-09, which is a favorable outcome. Hispanic and Native American students declined the last three years, while diverse students comprised around one third (33%) of total enrollment in 2009-10.

3.11 In 2009-10 diverse groups with the greatest representation were: Other Race (13%) and African American (10%). The Acting/Stage certificate appears to attract the largest percentage of non-Caucasian students.

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NOTE: Refer to APPENDIX for detailed charts showing 3-year headcount and percentage of ethnic groups in each program option.

OVERALL PROGRAM – STUDENT ETHNICITY

HEADCOUNTS PERCENTAGESEthnicity A89 A90 B01 A89 A90 B01African American 5 10 7 6% 11% 10%Asian/Pacific Islander 3 8 5 3% 9% 7%Hispanic 8 10 2 9% 11% 3%Native American 4 0 0 4% 0% 0%Other Race 9 12 9 10% 13% 13%White 62 54 47 69% 57% 67%Totals 91 94 70

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STUDENT AGE: ENROLLMENT COUNT AND PERCENTAGE

3.12 The program predominantly attracts younger students, although a range of age groups is present up to 59 years. In 2009-10 around two-thirds of the enrolled students were 24 years or younger (20% were under 20 years, while 45% were 20-24 years).

3.13 Annual figures show the percentage of youngest students (under 20 years) dropped 8% from 2009-10 to 2010-11, while percentages increased for students 25-29 years old (up 10%) and those 35-39 years (up 6%). This indicates a trend towards somewhat older students in the program, which may relate to the more individuals seeking career change because of the economic downturn.

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NOTE: Refer to APPENDIX for detailed charts showing 3-year headcount and percentage of different age groups in each program option.

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ENROLLMENT COUNTS PERCENTAGESA89 A90 B01 A89 A90 B01

19 + under 20 27 14 21.5% 28.4% 19.7%20-24 33 33 32 35.5% 34.7% 45.1%25-29 16 15 8 17.2% 15.7% 11.3%30-34 5 7 3 5.4% 7.4% 4.2%35-39 1 2 6 1.1% 2.1% 8.5%40-44 5 2 3 5.4% 2.1% 4.2%45-49 4 3 2 4.3% 3.2% 2.8%50-54 4 3 0 4.3% 3.2% 0%55-59 4 2 3 4.3% 2.1% 4.2%60-64 1 1 0 1% 0% 0%65 or above 0 0 0 0% 0% 0%

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STUDENT ECONOMIC STATUS: ENROLLMENT COUNT + PERCENTAGE

3.14 The percentage of economically disadvantaged students in the program declined slightly since 2008-09. In 2010-11 almost one third (32%) of the students were identified as economically disadvantaged. Compared to 2008-09 this percentage represents a 5% drop. Faculty is aware that some students face financial issues which pose barriers; and they have been attempting to raise funds for student scholarships in the performing arts/filmmaking program.

OVERALL PROGRAM

HEADCOUNT PERCENTAGES

ECON_DISAD A89 A90 B01 A89 A90 B01Yes 24 21 21 36.4% 31.8% 31.8%

NOTE: Refer to APPENDIX for detailed charts showing 3-year headcount and percentage of economically disadvantaged students in each program option.

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STUDENT ACADEMIC STATUS: ENROLLMENT COUNT + PERCENTAGE

3.15 The percentage of prof-tech students in this program who are academically disadvantaged is relatively small and has decreased slightly in the last three years (from 14% in 2008-09 to 10% in 2010-11). This represents a 3% drop and is now at the lowest level in three years.

STUDENT HEADCOUNT

NOTE: The title Film refers to the overall prof-tech program

OVERALL PROGRAM ENROLLMENT

HEADCOUNTS PERCENTAGESACAD_DISAD A89 A90 B01 A89 A90 B01Yes 12 of 93 12 of 95 7 of 71 14% 13% 10%

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3.16 Academically disadvantaged students are distributed across different program options, including the AAAS degree and certificates.

Program Options Y (blank)Grand Total

A89 12 81 93Act/Stage Cert 2 25 27Dig Film Prod - AAAS 2 2Dig Film Tech 7 34 41Write/Dir Cert 3 20 23

A90 12 83 95Act/Stage Cert 3 31 34Dig Film Prod - AAAS 1 1Dig Film Tech 6 33 39Write/Dir Cert 3 18 21

B01 7 64 71Act/Stage Cert 4 17 21Dig Film Prod - AAAS 2 12 14Dig Film Tech 20 20Write/Dir Cert 1 15 16

Grand Total 31 228 259

GRADES: FREQUENCY AND PERCENTAGE BY YEAR

3.17 During 2010-11 around two thirds of all grades were A’s (52%) or B’s (15%). The next highest frequencies were for C (8%) and NC (8%). The frequency of A grades has remained fairly constant, while frequencies for lower grades (C, D, and F) have increased slightly.

3.18 A distinct change during the last three years is the decreasing frequency of I (Incomplete) grades from 1.3% to .8% and W (withdrawal) grades from 2% to .4%. These declines may be related to the increase in NC grades, which can be a less punitive option.

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PERCENTAGES

A89 A90 B01A 53.8% 47.5% 52.5%B 17.1% 18.1% 15.3%C 5.9% 8.8% 8.0%D .2% 3.3% 3.8%F 4.2% 4.9% 5.4%I 1.3% .2% .8%N .9% 0% 0%NC 4.0% 3.9% 5.7%P 4.4% 5.1% 1.9%V 1.3% 2.0% 1.5%W 2.0% 2.8% .4%Z 1.5% 2.0% 1.9%

NOTE: Refer to APPENDIX for detailed charts showing 3-year count and percentage of grade frequencies in each program option.

DEGREES AND CERTIFICATES: AWARDS COUNT BY YEAR

3.19 A downward trend is apparent for completion rates of certificates. It is difficult to gain an accurate picture due to variability of student intent. While some students plan to complete a degree (DTA or AAAS), others are exploring career options or seeking only selected classes and may (or may not) seek a performing arts/film production certificate. Issues about accuracy of student intent codes are currently under review by the faculty and institution.

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Faculty reports two other factors which impact student completion rates: some students gain skills and leave the program to take jobs (certificates are

not required for employment) some students are on a four year plan (they stop out to work and then return

at a future date)

3.20 Since the AAAS degree is fairly new, it is too early to evaluate completion rates for this award. Some students may not complete degrees because they decide to transfer to a four year school but do not change their student intent code. Data on student transfer rates was not available for consideration in this report; however, the institutional researcher is seeking ways to accurately track student transfers.

Program Option by Academic Year Grand Total

A89 – Total Completions 14ACTING FOR STAGE & CAMERA- CRT 5DIGITAL FILMMAKING TECH - CERT 5WRITING & DIRECTING/CAMERA-CRT 4

A90 – Total Completions 6ACTING FOR STAGE & CAMERA- CRT 1DIGITAL FILMMAKING TECH - CERT 3WRITING & DIRECTING/CAMERA-CRT 2

B01 - Total Completions 6ACTING FOR STAGE & CAMERA- CRT 1DIGITAL FILMMAKING TECH - CERT 2DIGITAL FILMMAKING TECH AAAS 1WRITING & DIRECTING/CAMERA-CRT 2

Grand Total 26

FORMER STUDENTS: EMPLOYMENT SUCCESS

3.21 The state estimates of employment rates for groups of former students showa range that averages around 60%. The economic downturn has reduced labor market opportunities in the short-term for this field, but these are expected to improve with economic recovery.

3.22 The employment rate was lower for early leavers than completers during the most recent report year (2008-09).

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STATE ESTIMATED EMPLOYMENT RATESEarly Leavers Completers *

2006-07 76% (6) 0% (1)

2007-08 100% (3) 55% (4)

2008-09 49% (7) 73% (7)

*NOTE: Completers are groups of former students who have completed 45 credits, a degree, or a certificate in the program.

4. CURRICULUM (FAC. REPORT Pg 56).GENERAL OBSERVATIONS4.1 The program provides a well rounded curriculum integrating cinema, drama,

and digital filmmaking with many opportunities for hands-on learning and real world experiences. This unique educational offering is not available at other community colleges in the local area. Film/Video programs at public two-year schools are very limited in Western Washington with only Bellevue College, Lake Washington Technical College, and Bates Technical College offering somewhat similar programs. The Shoreline C.C. curriculum distinguishes itself by preparing students for both transfer and employment in a variety of occupations related to performance arts and digital film production.

4.2 This interdisciplinary program includes academic classes (cinema and drama) that attract many students who are not seeking a professional-technical degree or certificate. Some choose to complete an Associate of Arts degree - Direct Transfer Agreement (AA- DTA) in either Cinema/Film + Media Studies or in Drama/Theatre Arts. For this external program review, curriculum analysis is restricted to the following professional-technical awards:

- Digital Film Production (AAAS Degree + AAS-T Degree)- Acting for Stage and Camera (Certificate of Proficiency)- Writing and Directing for the Camera (Certificate of Proficiency)

4.3 The program is highly regarded by graduates and practitioners, who value the foundation courses and electives reflecting diverse areas of the field. The curriculum serves students with a variety of career goals in theatre and film including acting, directing, writing scripts, stage managing, designing/building sets, and shooting/lighting/editing film.

4.4 The State Board currently recognizes only the degree and certificate titles, whereas the college website and publications refer to the program name as Performance Arts and Digital Filmmaking. One faculty member mentioned that Media Arts is a newer term which should be considered.

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4.5 Short-term certificates strictly for the Film program are not offered, although the program website indicates two certificates (Basic Production and Basic Post Production) are under development. More than half (58%) of student survey respondents indicate a variety of embedded short-term certificates awarded along the way to the final degree would increase their likelihood of finishing the entire degree program. Faculty is discussing possibilities for short-term certificates and modifications to the degree that might increase enrollment and completion rates. The college expects all instructors to keep their program current so that classes can continue to be offered. Thus, extra pay for updating current curriculum is not permitted; however, workforce education funding might be available to produce new program options. This matter requires discussion between the dean and part-time faculty to clarify expectations and opportunities.

4.6 General education requirements for communication, quantitative or symbolic reasoning, and human relations in the degree and certificate options are provided as separate courses rather than embedded content in technical courses. This is a sound approach that ensures compliance with accreditation standards and better supports transfer students. Human relations content for the degree includes 10 credits for multicultural understanding, which is an excellent feature. Thirty credits in general education/related instruction equates to 30% of credits for the degree and provides a strong foundation that is more than adequate to meet accreditation standards. The certificates require 12-15 credits in general education, which is 16-22% of total credits. This meets accreditation standards but is low considering total credits are close to an associate degree.

4.7 Courses throughout the curriculum emphasize experiential learning and require projects that involve teamwork and collaboration. This aligns with priorities expressed by advisory committee members who indicate these abilities are extremely important in the field.

4.8 Internships are required for the AAAS degree to familiarize students with work place expectations and help them compete for jobs. Certificates do not require internships, but are currently undergoing review in preparation for revision. There are more requests for interns than faculty can accommodate, which speaks well for the program.

4.9 Guidance for career planning receives predominantly positive ratings (78% of surveyed students rate it good or excellent; and 14% rate it as fair). Students prepare resumes and produce samples of their work which can be presented to potential employers. Self-promotion skills are embedded in a number of courses. Drama has a course in theatre career planning; and the Film Production Management class has content on career development and planning.

4.10 Drama courses were compared with UW courses and some revisions occurred. Although Drama 101 transfers to the UW, the faculty has been advised to confirm alignment of SCC drama courses with UW courses.

4.11 Advisory committee feedback indicates the curriculum is aligned with needs of industry. Suggestions include expanding opportunities for students to work on active local film sets and providing more classes that require collaboration and

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hands on experiences. Also, one comment mentioned the importance of keeping equipment as up to date as possible.

4.12 The vast majority of student survey responses provide favorable opinions of the curriculum:

92% rate curriculum as good or excellent in meeting student needs 84% rate the support of their individual learning needs as good or excellent 80% rate the preparation for employment as good or excellent. 77% mentioned particular courses and projects that helped them achieve

their goals (most frequently listed classes and experiences were acting, writing, screenwriting, directing, film production and editing)

4.13 The student survey revealed strong interest (55% of respondents) in more Stage Technology/Stagecraft courses. When asked about other courses not currently offered that would support student goals, no strong pattern emerged. A wide range of suggestions was offered and around one third were related to computer based skills (2D/3D animation, video editing, game design, etc.). Other areas of interest included dance/movement, advertising, script re-writing, show business, and photography. Survey respondents were overwhelmingly positive (96%) about the value of all courses in the program. Only 2 students indicated some courses (CIS 105 and video editing) were not useful to achieve their goals.

4.14 The consultant has the following questions about the curriculum:

When will the short-term certificates will be developed?

What is the likelihood that more courses will be developed in Stage Technology (in response to student interest)?

What is the likelihood that internships would be required for certificates?

How well do courses (credits + content) align with UW drama major?

How is faculty working with other departments (VCT, Music Tech, etc.) to develop new courses on converging technologies?

4.15 Although the above questions reflect core issues for the program, guaranteed funds are not available to pay for all this development work. Since the program suffers if core issues are not addressed, the dean seeks grant monies from the Workforce Education Office when possible to pay faculty for developing new curriculum.

DISTANCE LEARNING4.16 Most courses in cinema, drama, performing arts, and filmmaking are

offered in face-to-face format. Although students can complete the AA-DTA degree fully online, the AAAS degree offers only a few online courses in Cinema and Drama. These courses were initially offered last year and are going well. The survey of current students shows more than half do not favor online or hybrid courses; however, this might change as e-learning strategies are refined and

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students gain more familiarity with the modality. Due to limited student interest, faculty is hesitant to increase e-learning options at this time.

4.17 Student survey responses indicate many do not like distance learning. Over half (54%) of respondents prefer face-to-face classes. Although there was no consensus about courses that might work in an online or hybrid form, 3 or 4 students mentioned Cinema 201 (Cinema History) and video editing courses, while one or two students suggested miscellaneous courses including Film/Video 285 (Screenwriting), English, Math, MAC, and Drama 101 (Introduction to Theatre). Some students (6 to 10) indicated courses in film production, editing, acting and drama should only be taught in a face-to-face format.

RECENT COURSE MODIFICATIONS 4.18 The program curriculum has a complex history with significant change the last

three years. Previously the film program consisted of academic transfer Communication courses taught by 2-3 full-time instructors. Prior to fall 2008 Film classes were established as professional-technical classes; and the program was designed with a mixture of academic transfer and professional-technical courses including Film, VCT, DRAMA, CMST, MUSTC, and Cinema (without a full-time prof-tech instructor assigned to this program). Another change during the past 2 years was implemented to comply with the OAR report that dual listings from the same distribution area were to be eliminated. The courses are now listed under VCT and no longer Film or CMST. Previously two film editing classes became dual-listed with VCT (266 and 267) due to overlap of skills, but VCT 266 will soon be taken off the books. Also, VCT 267 has been modified to align with changes in the program. Recently part-time faculty revamped the entire Film curriculum and now an additional VCT class (268) is integral to the program.

4.19 A major change involved creating the AAAS/AAS-T degree in Digital Film Production (97 credits) and reducing certificates from three to two. The degree is intended for students seeking more knowledge and skill in film/video production than is possible for the general AA-DTA degree (15 credit limit). It is also designed to support transfer to Central Washington University and other schools with bachelor’s degrees in film and video.

4.20 This year the Digital Filmmaking Technology certificate changed to the Digital Film Production degree (AAAS or AAS-T). The two current certificates of proficiency include: Writing and Directing for the Camera (67-73 credits) and Acting for Stage and Camera (68-74 credits). These require a fairly high number of credits (67-74) which approach an associate degree and require 4-5 quarters for completion. This program is quite new; and it is too early to predict the impact of these changes. If completion rates for longer certificates continue to decline, it may be helpful to create embedded short-term certificates.

4.21 Other curriculum changes involved updating all master course outlines anddeveloping hybrid and online courses.

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PLANNED COURSE CHANGES/ADDITIONS4.22 Faculty demonstrates a commitment to curriculum improvement based on

advice from industry partners to ensure relevancy for the program. They are considering further modification of the degree and creation of new short-term certificates (such as sound in film), but limited funding and time pose obstacles to completing this work. Also, they plan changes to reflect software upgrades.

4.23 In order to improve class fill rates faculty may reduce the number of film and video courses approved as electives for the AAS-T degree.

4.24 Student surveys indicate 50% of respondents would be likely or very likely tocontinue in the program and pursue a four-year applied baccalaureate degree if offered by Shoreline Community College.

4.25 Faculty is interested in partnering with other technical arts departments (VCT and Music Tech) for development of an applied BA degree. They state “this would make us stand out in the area as the only public college on the west side of the state that offers a technical BA degree in these areas.” The consultant agrees this is an opportunity to fill a unique niche; however, budget constraints may necessitate outside support (possibly grant funding) to support curriculum research and development.

5. FACULTY (FAC. REPORT Pg 57)

SUFFICIENCY OF FT AND PT FACULTY5.1 The survey of current students shows more than half of respondents mentioned

faculty as a program strength. This positive view was also reflected by the division dean and advisory committee survey. Current faculty brings a rich diversity of expertise to the program. All have experience in their field, possess current knowledge, and maintain connections with industry professionals. Also, a female faculty member from this male-dominated field provides a role model for female film students.

5.2 The program lacks a full-time professional-technical faculty member, although a full-time academic transfer instructor teaches drama courses which are integral to the program. Seven part-time instructors teach courses in film, cinema, and drama (one is a retired full-time instructor who teaches evening cinema courses). Two primary part-time instructors each teach around two thirds of a full load every quarter of the academic year (One teaches film courses and the other teaches both cinema and film courses). Other part-time instructors teach smaller loads (18-29%) on an occasional basis.

5.3 None of the part-time faculty has affiliate status in either drama or film; and three instructors have been working beyond their contractual obligations (i.e. helping with promotional materials, student advising, high school outreach and other coordinating functions). Thus, faculty believes the current arrangement is not sustainable, because the amount of extra work required to support the program cannot be managed on a volunteer basis. They see the need for

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another full-time instructor to primarily serve the film/video department. A full-time instructor could support student advising, curriculum development, program promotion, development of more articulation agreements, and revenue-generating activities that benefit the program and college.

5.4 Part-time faculty suggests an alternative is moving an associate faculty member to the affiliate level. However, the dean indicates that affiliate status does not give them extra money nor guarantee that they get two classes every quarter. Many extra hours worked by part-time faculty have been supported each year by funding from the dean’s office and workforce grants, but the amount of compensation has been insufficient for the amount of activity that the program generates. Unfortunately, as college budgets decline the ability to pay both full-time and part-time faculty for additional work is diminishing.

5.5 The full-time Drama instructor is responsible for around 33% of the total teaching effort in the program during the regular academic year but only for Drama courses (Fall, Wtr, Spr, excluding summer quarter). This is not ideal (i.e. 50% would be preferable), but two part-time instructors consistently teach around two-thirds which provides some stability (2-3 part-time faculty are in Drama and 2 are in Film)

5.6 In addition to stand alone courses, the full-time Drama instructor typically teaches some clustered classes to meet student demand and prevent class cancellations. The number of assigned courses varies quarter to quarter, but clustered classes require a larger number of class preparations for the instructor. Moonlight teaching assignments have not occurred, which is fortunate considering the load from clustering courses.

5.7 Total annualized load for all part-time faculty equates to 2.2 full-time equivalent faculty (excluding summer). Combining the AnFTEF for full-time and part-time faculty during the academic year (without summer) gives a grand total of 3.2 full-time equivalent faculty teaching in the Drama, Cinema, Performance Arts, and Filmmaking Program. The predominance of part-time faculty (around 67%) is high, but their experience, dedication, and consistent involvement have been critical factors in supporting the program.

FACULTY Annualized FTEF Fall – Spring Fall – Spring

Full-Time Faculty - 1 1.08 /yr

Part-Time Faculty - 7 2.17 /yrTotal FTF + PTF 3.25 AnFTEF (F,W,Sp)

Ratio FTF to PTF (FWS) 33% FTF to 67% PTF

Summer Summer

Part-Time Faculty - 4 .73 AnFTEF (Sum only)

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RESOURCES FOR COORDINATION WORK 5.8 The program does not have a faculty chair; however, a program manager (Mary

Bonar) provides administrative support for the program (and other programs in the division) and facilitates communication with part-time instructors. As previously stated in #5.3, additional support is needed for another full-time instructor and/or funding to pay part-time faculty for extra work that is required. It may be necessary for the college administration to address these issues in a larger forum as state resources continue to diminish.

PROFESSIONAL DEVELOPMENT ACTIVITY5.9 Program faculty is continually learning new approaches and information related to

their field. Over the last three years they have utilized a variety of funding sources to complete courses for degrees and professional certifications, as well as workshops and return-to-industry experiences. Last year one part-time faculty was awarded close to $7,000 alone from Workforce faculty development funds to gain certification training in another state. Faculty is generally satisfied with professional development offerings on e-learning provided by the college.

6. RESOURCES (FAC. REPORT Pg 58)

ADEQUACY OF FISCAL RESOURCES6.1 Faculty, staff, and administrators work diligently to support and improve the

program. Fiscal resources are tight due to ongoing budget reductions for the college, which makes it problematic to fund additional expenditures. A primary source of income is the state general fund operating budget. Supplemental support comes from federal workforce education funds (i.e. Carl Perkins and worker retraining allocations to the college) for a variety of purposes including professional and curriculum development. Grants have been sought to support enrollment of non-traditional students (i.e. women behind the camera).

6.2 Approximately $ 10,700 in revenue from student fees is generated each year. This covers expenses for hourly staff, goods and services

6.3 The Visual Arts Center Program Manager is a staff person assigned to assist with the program. She assists with organizing meetings, class scheduling issues and conflicts, purchase requisitions, etc. In addition, for the past 10 years, a part-time hourly staff person has worked for about 16 hours per week (or 50-69 hours a month) to assist with departmental duties such as equipment maintenance and check-out, additional technical support for students and faculty, and various administrative tasks for the department. This part-time hourly actually works as a classroom assistant for one part-time faculty, which is a novel feature for all other production class situations across the college. Faculty sees the need for a permanent part-time support staff member assigned to the

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film/video department, because duties performed by this employee are truly essential to support instruction in the program.

6.4 As stated in the Curriculum section, faculty has discussed reducing the number of Film/Video courses for electives in the AAS-T degree to improve class fill rates and instructional efficiency.

6.5 The program does not have a designated faculty chair; but coordination functions are supported by the Visual Arts Center Program Manager, who also assists other programs in the division. The full-time Drama instructor collaborates with part-time faculty for curriculum and program development, but this ongoing communication is a struggle to keep everyone in the loop. More help is needed to support student advising; and more funding would be desirable to better support the extra work performed by part-time faculty (Refer to section 5 on Faculty). The dean understands these requests and pays faculty on an hourly basis per the contract as funding permits. Unfortunately, as state resources dwindle, the faculty is struggling to maintain the program fully.

6.6 Professional development funds have been provided by the faculty negotiated agreement and funding is also available from the Workforce Education Office. Faculty has had many opportunities through different funding sources to continue their professional development; and most requests have been granted over the last three years.

6.6 The college foundation has been approached about conducting fund raising forstudent scholarships, which is an excellent approach.

PAST YEAR COSTS VERSUS FTES EARNED 6.8 State-funded Instructional costs (faculty salary and benefits) for the most recent

academic year (2010-11) in the Cinema/Drama/Performance Arts/Digital Filmmaking Program totaled approximately $ 229,208 (including summer quarter). Based on a total of 30.27 annualized FTES generated in state-funded courses during 2010-11, the estimated instructional cost (i.e. total faculty salaries and benefits divided by total AnFTES) was $ 7,572 per annualized FTES.

6.9 Although this cost estimate seems higher than some professional technical programs in the college, it is deceptive because most class rosters show less than 50% of enrolled students with intent codes for the program degree or certificates. A large percentage of transfer or undecided students enroll in many of these courses. Close examination of class rosters revealed about half the students in production courses (Drama 207/208/209) were seeking an AAS degree; and acting classes (Drama 144/145) also had a high percentage of AAS students. Cinema classes had the highest percentage of undecided students (in some cases 100%). In addition, many classes overlap with the Music Technology and VCT programs (Drama 155, 156, 157, 207, 208, 209, Film 256, 266, 286, 287); and often 5-50% of students in these classes intend to complete other prof-tech programs.

6.10 Based on these findings approximately 34% of the full-time instructor’s teaching

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load and 24% of the part-time faculty teaching loads serve students in this program. This analysis produces a lower cost per FTES (less than one third of the above stated figure), which compares favorably with many other programs at the college.

6.11 The 2010-11 annual operating budget for goods and services is $ 1,379. The budget allocation for capital equipment and software plus hardware and services is $ 2,142. This has been sufficient to meet program needs, but the future is uncertain. The state operating budget also provides classified staff who support Humanities, campus theater rentals, and all drama and music productions.

INFORMATION TECHNOLOGY, SPACE, + LAB EQUIPMENT 6.12 A survey of current advisory committee members shows favorable ratings for

the program facilities and resources. Faculty has generally received what they requested; and equipment is fairly up-to-date and well-maintained. Future equipment needs could become problematic if resources are not available for:

Routine equipment maintenance and upgrade of editing software

Possible conversion from Final Cut Pro to Adobe Premier software (this would require conversion of the lab by installing a different software editing platform and then providing retraining monies for one faculty member, or adding another part-time instructor with expertise in Premier).

Purchase of more cameras, lighting equipment and sound recording equipment to support increased enrollment

6.13 The large theatre needs upgrade of the sound system (cost is $ 5,000). This could enable the college to generate revenues from rentals for film showings.

6.14 There is also a need to increase server storage capacity for streaming video in the Blackboard courses.

6.15 Faculty indicates existing facilities and equipment are workable. Deficienciescan be managed by creative approaches that prepare students for less-than-ideal situations in the workplace. A pending request from the dean is seeking additional space (2 to 3 rooms in the basement of the library building) to provide a black box theatre and additional classrooms for the program. This facility upgrade/expansion would better support teaching and learning, and enable enrollment growth in the program. Also, the full-time drama instructor has collaborated with NSCC on reciprocal sharing of facilities.

6.16 The survey of current students shows generally favorable ratings for the program resources including information technology, equipment, space, and supplies (60% rate resources as good or excellent). Around one third (30%) are less satisfied, rating resources as fair or not so good; and their comments indicate a need for more equipment (film lighting, MAC lab) and stage props.

7. SCHEDULE OF CLASSES (FAC. REPORT Pg 59)

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ALIGNMENT WITH NEEDS OF TARGET POPULATION 7.1 Faculty has put considerable thought into developing a coordinated annual

schedule of classes to support student progress and efficient use of instructional resources. They have experimented with different approaches and continue to seek the optimal mix. The dean indicates class scheduling has generally been acceptable.

7.2 No major changes are planned for course scheduling, although faculty is considering revision of elective courses for the AAS-T degree. Reducing the number of elective courses and making some of these mandatory may improve class fill rates. Faculty also want to continue discussion with the college administration about including more Film and Cinema courses into literature about requirements for the AA-DTA degree in order to attract more transfer students to these courses.

7.3 Due to budget constraints the program has been unable to offer as many sections as the faculty and students would like (i.e. some courses have lower fill rates). Two foundation classes and two elective classes for the AAAS/AAS-T degree are only offered once a year. While this gives students fewer scheduling options, it also prevents class cancellations which disrupt student progress. Course availability is satisfactory for Cinema and Drama (5 of 13 courses are offered once per year). In contrast, Film courses have much less availability (5 of 8 are offered once per year because some course fill rates have been problematic). This has not been a major issue because many students attend for at least two years and eventually get the classes they need. Since many students self-advise, it might be helpful to provide more obvious reminders about courses offered only once per year by coding these on the planning guides or other informational sites.

7.4 Faculty has been meeting student demands by overloading and increasing their class enrollments in cinema and drama courses; and thus waitlists cease to exist after the first week. Course clustering occurs frequently to meet the needs of students and avoid cancellations of smaller classes in Drama, Film, and Cinema. Clustering is usually reserved for classes that typically draw somewhat lower enrollment but cover related subject matter (usually 2 or 3 courses with one having more advanced content). Although clustering has been manageable, it does present challenges for both faculty and students.

7.5 Some evening courses have encountered enrollment difficulty (i.e. drama courses have been cancelled), but Cinema 201 has been successful as a hybrid course in the evenings. When demand increases, class capacity has been raised to meet overload needs.

7.6 The survey of current students shows the vast majority of respondents (82%) rate class schedules as good or excellent in meeting student needs. While this is a favorable finding, there are still some students (18% of respondents) who rated class scheduling as only fair. A few students expressed the desire for more class availability during the year, including more evening or online classes; however, budget constraints make it difficult to add more class sections.

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7.7 Planning guides do not include examples of recommended quarter class schedules, but the AAAS/AAS-T planning guide provides pointers about prerequisites and course sequencing to help students with academic planning. The college website provides an annual class schedule which is also helpful. Faculty has submitted revisions, but intends to review accuracy of the annual class schedule. Several courses are not included in the annual class schedule (Film 255, 257, + 269 and Drama 174 + 235) because they are specialty areas or high school tech prep classes offered sporadically.

7.8 Online and hybrid course offerings provide more flexibility and access for students with jobs and family obligations; however, most students surveyed prefer face-to-face instruction and would probably not enroll in a program taught entirely or mostly online.

8. PARTNERSHIPS (FAC. REPORT Pg 60)

ACTIVE PARTNERS 8.1 Faculty sees partnerships and networking as important for success of the

program and students. The advisory committee consistently meets at least twice per year with organized agendas that encourage mutual exchange of substantive information, feedback, and active support of various program elements (i.e. curriculum, marketing, internships, revenue generation, student scholarships, etc.). The committee makes a strong effort to identify community opportunities and resources for the program and students.

8.2 The advisory committee has 11 industry members; and new individuals are added periodically. The majority of committee members are employers or small business owners; and there is no organized labor (union) representative, which would be desirable in the future. The roster reveals a good mix of people who represent different sectors of the industry. Around half appear to be writers, directors, or producers including both males and females. Partners from large industries/organizations would also be beneficial to add to the committee.

8.3 Attendance at advisory committee meetings is inconsistent, with only one fourth attending on a regular basis (at least once per year); however, a positive outcome is that most meetings have at least 5 committee members present. Faculty has considered moving from dinner to lunch meetings, which might improve attendance. The majority of members on the 2011-12 roster (6 out of 11) have not attended a meeting in the last year. Old members who are inactive should be removed from the committee. Program faculty attends regularly to engage in discussion with committee members and makes an effort to implement recommendations and report these actions to the committee.

8.4 Although the timeline was extended and reminders were provided, only 2 out of 11 advisory committee members returned questionnaires. This raises doubt about the level of commitment for this program, but many have pressing matters with clients and some are owners of small businesses that have closed. Members who responded to the survey gave favorable responses about the

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program and committee. Their support involves curriculum advice, student internship/mentoring, and employment of graduates.

8.5 Besides the advisory committee, faculty works with many other partners including: Seattle Repertory Theatre and the SCC ESL department for the iSpeak

Program Numerous area elementary schools (Children’s Theatre course) TechPrep articulations with high schools in the area Community organizations including the Seattle International Film Festival,

Seattle Lesbian and Gay Film Festival, Reel Grrls, Reel Queer, MEET (Media Educators consortium for high school and middle school teachers in the area)

Employers seeking job applicants from the program Numerous student internship placements in a variety of settings (including

Clatter and Din, Biz Kids, and Victory Studios) Professional organizations (boards and committees) Employers who provide return to industry work experiences for faculty

8.6 Students pursue many opportunities for film jobs including documentaries for local organizations and businesses (i.e. Mariners, Folk Life Festival and others on campus). Also, they frequently find work in professional film shoots.

8.7 An articulation agreement is being developed with Central Washington University for the Film & Video Studies Program. Faculty is interested in pursing transfer agreements with Lake Washington Institute of Technology and other public baccalaureate schools (The Evergreen State College, Western Washington University, and UW-Bothell) to increase options for transfer students.

TARGETED NEW BUSINESS OR INDUSTRY PARTNERS 8.8 A program goal last year was to gain more student internship opportunities. At

this point there are more employer requests than the program can handle, but faculty will continue to maintain partnerships that support student internships. Students want interesting projects and some internship referrals from industry are not totally desirable to students unless the employer and faculty work directly to create strategies for learning outcomes.

9. SUPPORT SERVICES (FAC. REPORT Pg 60)

COORDINATION WITH SUPPORT SERVICES 9.1 Many students self-advise or seek out a professor of their choice to help plan their

class schedules. Ruth Gregory works closely with the Humanities advisor to discuss current curriculum trends and changes in the program.

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9.2 Students in the editing classes have used tutoring services coordinated by Tony Costa with some success; however, they have primarily relied on a part-time staff member (George Watt) for tutoring help when faculty is unavailable.

9.3 Career guidance and job search information is provided by Work Source and faculty in the program. The student survey indicates most respondents (78%) think career guidance is excellent or very good. For 14% of respondents there is a desire for more assistance, but no specific suggestions have been offered.

9.4 Faculty is interested in having a list serve to communicate with or survey students and graduates of the program, but have not been able to get the necessary resources or assistance. It might be possible to employ a student work study employee for this project. The dean has asked faculty to keep a log of anecdotal information about student graduates, particularly related to their employment, with the hope of collating such information over the summer.

EFFECTIVENESS OF SUPPORT SERVICES 9.5 A survey of current students shows more than half (60%) of respondents believe

academic advising services meet their needs (rated as excellent or good). About one fourth (26%) of surveyed students give lower ratings (fair or not so good) to academic advising, but comments are very positive about faculty support and availability. Student academic advising is provided by the full-time drama instructor and part-time faculty (on a volunteer basis during the regular academic year). During the summer part-time faculty is hired to conduct focused summer sessions. Since the advising load for potential and current students (both transfer and prof-tech) is difficult for one full-time instructor to manage, he refers prof-tech students to part-time faculty when technical expertise is needed. To improve access to advising services, the dean plans to schedule two group advising sessions each quarter in the division (with compensation for part-time faculty who participate). Also, the college will initiate an automated degree audit system in January 2012 which should improve effectiveness and efficiency of academic advising.

9.6 The student survey indicates a majority (60%) are satisfied with other supportservices including lab assistance for equipment/software, reliability of computer/software/server, tutoring, financial aid, and counseling. Although 26% of students surveyed rated these services as fair or not so good, they gave no specific suggestions for improvement. One difficulty is that students who apply for financial aid in late spring or summer may be too late to receive it for fall quarter admission (due to the 3 month timeline for processing awards).

9.7 Faculty has encouraged development of two student clubs (the Film Club and the Sisterhood of Women in the Film Industry). These groups provide a support system for students and address gender inequity “behind the camera”.

9.8 Faculty has established a foundation scholarship for under-represented students and pursues funds to expand scholarships for film students.

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GAPS IDENTIFIED9.9 The number of student advisees (current and prospective) seems excessive for

one full-time instructor. Thus, part-time faculty also provides these services to students, which is beyond their contractual obligation. Compensation for part-time faculty who participate in group advising will be helpful.

9.10 Lack of institutional support for marketing has been a concern. Faculty andstudents indicated the program website needs improvement. It is fortunate that the college is currently planning ways to address this problem. Also, marketing assistance from advisory committee members could be expanded; and workforce funds might be available to support more marketing materials and activities.

10. REVENUE POTENTIAL (FAC. REPORT pg 61) POSSIBILITIES FOR REVENUE GENERATION10.1 One suggestion is to pursue sponsorship or grant monies to upgrade the theater

and outfit it with high definition digital equipment, which would permit the college to rent out the theater to filmmakers seeking to showcase their work or to movie theater companies who want to hold preview screenings. Free to the public, these preview screenings would generate between $ 500 and $ 2,000 per evening for use of the theater.

10.2 Creating a guest lecturer/artist series could generate money when the public pays for admission to see the work of the filmmaker/artist in the evening. This would require funds allocated in advance to pay guest presenters.

10.3 Another suggestion is to pursue grants or donations to create a Northwest Center for Fine and Performing Arts. This would generate funds through admission to various community events and performances.

10.4 The faculty and dean believe a full-time instructor dedicated to the prof-tech program would enable the program to better pursue revenue-generating activities. An alternative approach might be to provide stipends for part-time faculty to conduct these activities. Although part-time faculty has mentioned the alternative of moving a part-time instructor to affiliate status, this would require the individual to work 15 hours free per year and it would not guarantee extra classes. Further, it could only happen when enrollments are consistently high in the Film program offerings. This matter may require more discussion between part-time faculty and the dean to clarify expectations.

11. THE VIRTUAL COLLEGE (FAC. REPORT Pg 61)

11.1 Faculty supports the president’s vision for the virtual college in accord with student learning needs for this program. Five courses (Cinema 201 + 202, Film 285 + 286, Drama 101) are offered as fully online classes; and five courses are offered in hybrid format (Cinema 201, Film 256, 257, 285, and 287).

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11.2 There are no plans to expand the current catalog of online and hybrid options, because the majority of students surveyed prefer face-to-face courses. To reach a broader student population (i.e. students pursuing a transfer degree or other areas of study), faculty hope to offer one or two online classes each quarter since these are easier for students to fit into their course schedules.

11.3 One issue that warrants attention is the need to increase server storage capacity for streaming video in Blackboard courses.

11.4 The student survey revealed a large percentage of respondents (over 50%) do not like distance learning (either online or hybrid) for this area of study. When asked which courses would work best online or as a hybrid, many listed courses that are already offered online. Thus, it appears that student demand for additional distance learning courses is not likely; however, there are some receptive students and it would be advisable to periodically survey student interest to see if demand increases in the future.

12. COMPETITION (FAC. REPORT Pg 61)

STRENGTHS/OPPORTUNITIES::12.1 The Cinema/Drama/Performance Arts/Digital Filmmaking Program offers a well-

rounded curriculum with an occupational focus that prepares students for various sectors of the field and also provides a strong general education component for the academic transfer option. The range of classes and experienced, knowledgeable faculty keep the curriculum current and relevant. The program has received many professional level awards and recognition for student projects. Its reputation for quality filmmaking has prompted other film schools to inquire about the curriculum. Internships are required for the degree; and Advisory committee feedback describes major strengths as real world training that gives students usable skills and teaches them collaboration and teamwork at an affordable cost compared to private schools.

12.2 Students seeking somewhat comparable degrees from public institutions in the region now have only two other choices (Bellevue College and Lake Washington Institute of Technology), since other two-year colleges in the area have been cutting similar programs (i.e. Edmonds, Seattle Central, and South Seattle). Although Edmonds CC eliminated the drama program, it still offers an ATA degree in Visual Communications which is a more basic option in video production. Seattle Central CC will close the film and video program at the end of 2011-12. North Seattle CC offers Drama classes and has a strong working relationship due to collaboration on film and theatre projects. A few community college programs outside the local area offer similar degrees, but curricula are more limited and the distance would require a long commute or relocating to the area (i.e. Bates Technical College and Yakima Valley Community College).

12.3 Public and private schools with cinema/media studies degrees (not production focused) include the UW-Seattle, UW-Bothell, and Seattle University. Only one private school (Art Institute of Seattle) offers a production-based two-year or four-year degree. Because of the lack of production-based degrees in

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the area and the extreme difference in cost between SCC and the Art Institute or public four-year institutions, faculty believes they are well positioned to expand course offerings, including the possibility of a four-year degree program.

12.4 The AAAS/AAS-T degree and certificates at SCC reflect industry input and trends. Students are prepared for a range of employment opportunities, which meet their expressed needs (i.e. 78% of students surveyed have a strong career focus). Surveys also show the program serves a large proportion of degree-seeking students (many are pursing AA degrees) who are supported by a solid general education component in the degree.

12.5 Seven private schools in the local region create competition for students who desire degrees in performance arts and filmmaking. For-profit schools have more aggressive marketing and strong student support services, but Shoreline CC is less expensive, accredited, and offers transfer options to four year schools. In addition, SCC has state worker retraining aid which is not available at more expensive private schools.

12.6 Faculty expects program enrollment will increase due to program closures atsome community colleges in the local area. They believe the program will remain viable if they can maintain quality/currency of the curriculum, retain strong faculty, and expand program marketing and community visibility.

12.7 Primary reasons students select this program instead of other schools is aconvenient location, good reputation based on high quality faculty, and well designed curriculum with hands-on learning and industry connections. One student indicated that SCC was recommended by a director as one of the best schools in the state for drama and video production. Students also select Shoreline C.C. because it is more affordable than private schools or four-year institutions. Most students surveyed heard about the program by word of mouth (44%) or through the college website (34%).

12.8 Student surveys show most (84%) are likely to recommend this program to others. Many students came to the program based on positive word-of-mouth (78%) and some current students have recommended the program to others.

CHALLENGES:12.9 The number of community college-based programs in the local area Is declining,

but SCC still faces serious competition from many educational institutions including technical colleges, four-year institutions, and private schools.

Community College

Degrees Certificates

Bates Technical College

AT – Broadcast & Video Production (6 quarters approx)

Cert Prof– Broadcast & Video Elements (3 quarters approx)

Bellevue AA –Movie Making (91 cr)

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Edmonds ATA – Multimedia/Visual Communications (93 cr)

Option - Video Production (9 cr)

Lake Washington Institute of Technology

AAS – Multimedia Design & Production (102 cr)

AAS - Video + Web Production (100 cr)

Cert Prof - Video + Web Production ( 85 cr)

Cert Comp - Digital Audio/Video Editing (15 cr)

Yakima Valley AAS – Television Production & Broadcast (6 quarters)

Public University

Degrees Certificates

Central Washington BA – Acting + Directing (new)BA – Cinematography

Eastern Washington

BA – TheatreBA – Electronic Media & Filmic ArtsBA – Cinematography + Film/Video Production

University of Washington-Seattle

BA – Drama

MA – Acting (new)MA – Directing + Theatrical Production (new)

Cert – Screenwriting (C.E. – 9 mo)

Cert – The Art of Film and Video (CE – 9 mo)

Private School Degrees CertificatesArt Institute of Seattle

AAS – Video ProductionBA – Cinematography + Film/Video Production

Cornish College of the Arts

BA – Drama + Dramatics/ Theatre Arts

Cert – Drama and Dramatics/Theatre Arts

Henry Cogswell College

BA – Visual + Performing Arts

Northwest University

BA – Dramatics/Theatre Arts

Seattle Film Institute

Cert – Immersion Prog. in Film Production + Digital Video (40 wks)

Seattle Pacific University

BA – Dramatics/Theatre Arts

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Seattle University BA – Dramatics/Theatre Arts

13. PROGRAM ACCESS (FAC. REPORT Pg 62)

13.1 The program supports both transfer and workforce students by offering two prof-tech degree options (AAAS or AAS-T) as well as two certificates. Also, courses attract many transfer students pursuing the AA-DTA option. There are no short-term certificates for entry level workers or upgrade of incumbent workers in the field at this time, but these may be developed in the future.

13.2 Open admission to the program is possible for those who complete prerequisite requirements and achieve required scores on the college placement exam. Most new students enter in the fall, but some start in different quarters. Although the program offers this flexibility, fall quarter entrance is the basis for the annual schedule of classes and some classes (especially FILM) are offered only once per year. Thus, students who enter after fall quarter may have difficulty with class availability since budget constraints limit the number of class sections.

13.3 Program access is modest for racially diverse students (32%), but some groups of under-represented students have increased since 2008-09 (i.e. African American, Asian Pacific Islanders, and Other Race). The Acting certificate draws the largest number of non-Caucasian individuals).

13.4 Male students constitute the majority in all program options. Although this is somewhat typical of the male-dominated industry, there is concern that the number of female students has declined by one-third (from 40% to 25%) in the last three years. The dean has encouraged faculty to work collaboratively with Music Tech faculty to create a student club focused on nontraditional enrollment in programs across campus with resources coming from workforce monies.

13.5 A broad range of age groups is apparent, but the majority are younger students (24 years or younger) who constitute two-thirds of program enrollment. However, a recent increase is apparent for older students which may indicate individuals seeking mid-life career change due to the economic downturn.

13.6 Academically disadvantaged students have decreased and constitute a very small percentage (10%) in the program. This might be related to the noticeable decline of Incomplete grades accompanied by the increase of NC grades.

13.7 Economically disadvantaged students comprise one-third of the program enrollment and have declined slightly over the last three years. Faculty has sought funding for scholarships to support these individuals.

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13.8 Students who commute longer distances, are employed, or have family obligations face schedule challenges since hybrid and online course offerings are limited. However, most students prefer face-to-face courses in this program.

14. LABOR MARKET OPPORTUNITIES (FAC. REPORT Pg 62)

INDUSTRY REPRESENTATIVES 14.1 Many agencies (especially public-funded organizations) have reduced hiring, but

the job market is expected to improve as the economy recovers. Since employment is competitive, faculty encourages internships which help students gain real-life experience about workplace expectations and develop a network of professional contacts. Many individuals work freelance in this industry; and thus entrepreneurial skills are important to gain employment.

14.2 Advisory committee feedback shows the most important qualities for success in the field are flexibility, adaptability, problem-solving, determination, and passion for the art. They believe student projects require these qualities; and they note that students learn skills which are useful in many areas including marketing, advertising, and technology and media related fields.

EMPLOYMENT PROJECTIONS14.3 According to Workforce Explorer (Washington State labor market website) King

County currently has demand for actors, producers/directors and writers/authors. Limited demand (balanced) is reported at this time for film and video editors in King County, while Snohomish County currently has no demand for actors or film/video editors).

14.4 The long-term outlook is optimistic since these occupations are predictedto have positive ten year growth (2008-18) in Washington State (except set and exhibit designers in Snohomish County). The elimination of a state business tax incentive for film production companies has been detrimental to the job market, but this problem may be addressed in a future legislative session.

Occupational Areas

Short-Term Growth 2009-11

Projected Growth 2008-18

Actors(Sea-King Co avg wage = $17.89/hr)

WA State + .8%SeaKingCo + .2%SnohCo + 1.7%

WA State + 9.7 % SeaKingCo + 6.9%SnohCo + 25.0%

Camera Operators(Sea-King Co avg wage = $27.12/hr)

WA State + .1%SeaKingCo + 0%SnohCo + 2.2%

WA State + 7.4% SeaKingCo + 6.5% SnohCo + 19.2%

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Film + Video Editors(Sea-King Co avg wage = $29.56/hr)

WA State + .1%SeaKingCo 0%SnohCo + 1.7%

WA State + 14.0% SeaKingCo + 14.5%SnohCo + 25.0%

Producers + Directors(Sea-King Co avg wage = $34.10/hr)

WA State + .4%SeaKingCo + .2%SnohCo + .4%

WA State + 9.3% SeaKingCo + 9.9% SnohCo + 15.0%

Set + Exhibit Designers(Sea-King Co avg wage = $26.50/hr)

WA State + 1.0%SeaKingCo + .7%SnohCo + 0%

WA State + 9.7%SeaKingCo + 5.8%SnohCo 0%

Writers + Authors(Sea-King Co avg wage = $34.75/hr)

WA State + .7%SeaKingCo + .5%SnohCo + .5%

WA State + 10.4%SeaKingCo + 10.3%SnohCo + 8.0%

14.5 Compared to percentages for Seattle-King County and Washington State, long-term growth projections are significantly higher in Snohomish County for actors, camera operators, film/video editors, and producers/directors. Since many students (36%) are seeking employment in the Seattle region they should be aware that jobs in this area may be more competitive than in areas further north (Snohomish County). Many survey respondents are planning to work outside the state and more than one fourth are considering California.

14.6 This data has relevance for current students because the largest percent ofrespondents (42%) are seeking jobs related to film production and post-production after graduating. Around one-fourth of student respondents mentioned two other occupational areas: directing/writing (28%) and acting (24%). Fortunately, the long term employment outlook for these positions is favorable in the Pacific Northwest.

FACULTY VIEWPOINTS14.7 Faculty has developed a curriculum that enables graduates who possess an

AAAS/AAS-T degree to find work in a variety of areas including the film, TV and video production industries, as well as corporate communications, video departments, public relations and advertising agencies.

14.8 The film degree is useful for employment outside of the traditional film or television industry, since visual, cultural and technological skills taught in this program are increasingly needed by companies who are hiring people to do internal media creation.

14.9 Academic transfer options prepare students for advanced education which can

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increase employment opportunities and income potential. Faculty notes the lack of public university bachelor’s programs for film/video production in the Seattle area is an obstacle for students who intend to stay here; and many have indicated an interest in an applied baccalaureate degree from SCC.

14.10 The program has no mechanism to track alumni on a consistent basis. Faculty needs assistance from the college to accomplish this (perhaps through a permanent part-time support staff member when resources permit).

CONSULTANT’S ANALYSIS OF FINDINGS

Institutional IssuesInstitutional issues are apparent in some of the program findings. The following items warrant administrative attention at the college.

ASSESSMENT Support for faculty professional development and activities related to

assessment of program outcomes, including systems for focused follow up of former students (workforce and transfer)

Criteria and tracking system to assess general education outcomes

New graduate survey conducted by the college does not identify student’s area of study (thus feedback cannot be used for program review)

STUDENT DATA TRENDS Accuracy of student intent codes for validity of statistical data

Difficulty tracking success of transfer students

RESOURCES Limited funding to expand course offerings in areas of demand

Lack of personnel to help research and prepare grant proposals

Limited support for upgrading prof-tech program websites

Loss of full-time faculty positions and insufficient funds to pay part-time instructors for extra duties

SUPPORT SERVICES

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Inadequate marketing for prof-tech programs (need more financial support and professional level expertise to plan and implement integrated strategies that will attract more students). * (see NOTE)

* NOTE: Could the SCC Foundation provide support for faculty professional development? (including workshops or mentoring on assessment of program outcomes and student learning outcomes, plus use of technology and strategies for distance learning)? Other needs include funding for program marketing and endowed scholarships targeted to selected programs.

Program Strengths

The Drama/Cinema/Performance Arts/Digital Filmmaking Program has numerous strengths (some of these are listed below):

STUDENT DATA TRENDS Enrollment increase for AAAS degree option in 2010-11

Student-to-faculty ratio increased steadily over the last two years

Non-white students comprise one-third of students and some groups have increased representation over the last two years

Gender balance is good in the acting certificate option

A range of age groups is served and the number of older students (over 24 years) is increasing

Frequencies of Incomplete and Withdrawal grades have declined

CURRICULUM Diverse course offerings prepare students for a broad range of occupations

and support both workforce and academic transfer students

Restructuring of course offerings has improved efficiency

Solid foundation in technical skills for employment in the field

Strong general education components

Excellent interdisciplinary focus which draws from related fields in VCT and Music Technology, Art and Art History

Quality instruction with a focus on relevant societal issues

Broad selection of plays/productions and multicultural components in the curriculum

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Many opportunities for experiential learning including required internships

Program Strengths (Continued)

FACULTY Exceptionally knowledgeable, experienced, and dedicated instructors

currently working in the field

Strong faculty efforts for program visibility and marketing

SCHEDULE OF CLASSES Annual schedule of classes is efficiently coordinated to minimize

cancellations and support student needs

PARTNERSHIPS Strong connections with professional and educational communities

SUPPORT SERVICES Faculty initiated development of a student scholarship and seek expanded

financial support for students in the program

Faculty support for student clubs

COMPETITION Very positive reputation brings many student referrals by word of mouth.

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CONSULTANT’S RECOMMENDATIONS

NOTE: A previous program review report was not available for analysis.

TOP PRIORITY ASSESSMENT (Section 1)

Create and implement a system to assess program outcomes including follow-up on former students (seek Perkins funds to support this effort including a list serve to survey/communicate with current and former students)

Document follow-up actions based on findings.

PROGRAM INFORMATION (Section 2) Address consultant’s findings related to accuracy, currency, congruency, and

accessibility of program information

STUDENT DATA TRENDS (Section 3) Increase strategies to address the decrease in female students (possibly utilize

targeted marketing with Perkins or workforce education funds)

CURRICULUM (Section 4) Create short-term certificates for the film production option to meet student needs

+ improve completion rates

Evaluate alignment of Drama course credits and content with UW Drama major

Seek support from the Workforce Education Office for a 2-day planning retreat with faculty in Drama, Film, VCT, and Music Technology (agenda could include potential curriculum changes, converging technologies, program name change, and an applied baccalaureate degree which encompasses all the disciplines)

FACULTY (Section 5)

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Establish a dedicated prof-tech full-time faculty position when resources permit. If this is not possible, seek more funds to support extra duties by part-time faculty

RESOURCES (Section 6) Increase storage capacity of server for streaming video in Blackboard courses

Complete arrangements to provide additional space for the program (in the basement of the college library)

Seek additional funding to upgrade program equipment and purchase more items as program enrollment increases

SCHEDULE OF CLASSES (Section 7) Evaluate the cost-to-benefit ratio of offering more class sections in areas of

student demand/need (especially for Stage Technology)

PARTNERSHIPS (Section 8) Modify advisory committee membership (add a union representative and retire

inactive members). Also investigate if lunch meetings can increase attendance.

Ask advisory committee to review and provide feedback on program outcomes and discuss a plan for assessment of these outcomes

REVENUE POTENTIAL (Section 10) Upgrade the sound system in the large theatre to enable the college to generate

revenues from rentals for film showings

MODERATE PRIORITY

ASSESSMENT (Section 1) Implement a system to begin assessment of general education outcomes and

document follow-up actions based on findings

STUDENT DATA TRENDS (Section 2) Seek more accurate data on transfer rates for students pursuing 4-year degrees

RESOURCES (Section 6) Provide funding for a permanent part-time staff person to support film/video

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(this is essential to support instruction and has been a part-time hourly position for the past decade)

APPENDIX

FACULTY RESPONSE……………… 54

STUDENT SURVEY…………………..64

ADVISORY COMMITTEE SURVEY...73

ADDITIONAL PROGRAM DATA……76

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PERFORMANCE ARTS + DIGITAL FILMMAKING PROGRAM REVIEW

2011 - FACULTY RESPONSE

Digital Filmmaking and Performing Arts Faculty Write-Up

1) Assessment - Describe the status quo of how student learning outcomes (LOs) in typical courses are currently tracked. Also describe how the program outcomes (POGs) are being tracked. Make note of any improvements or modifications that you would like to implement in either LOs or POs.

It is up to the individual teachers to track learning outcomes of particular courses. Some are easier to quantify than others. For instance in FILM 256: Video Production I the learning outcomes are:

1. Explain the digital filmmaking process from pre- to post-production.2. Operate basic production equipment, including cameras, lights, microphones,

field recorders, light control accessories, and grip and gaffing tools.3. Identify the historical and cultural concepts of image composition and

aesthetics.4. Apply the theoretical principles of composition, lighting design and audio

capture.5. Explain the similarities and differences between single camera and multi-

camera video set ups and techniques.6. Explore employment and volunteer options in the local and regional video

production, post-production, and film festival industry.7. Use basic storyboarding techniques.8. Work effectively in groups to create video projects.

In the past numbers 1 - 4 & 7 have been assessed through the projects that the students have completed in the course. Generally there are 3 - 4 project assignments in the class so students have the opportunity to improve upon their work and their grasp of these concepts as the quarter progresses.

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Number 6 is generally accomplished by having guest lecturers or taking the students on field trips to productions and facilities that are actively making films or videos.

Number 8 is assessed by having the students do self-reflections and group reflections after completing their production assignments (which they have to do in groups). Sometimes this outcome is also tested across classes with the production students shooting a piece and the editing students in either FILM 265 or 266 editing the projects.

The Digital Filmmaking program outcomes are:1. Explain the basic history, theory, and aesthetics of film and video production;2. Produce effective digital video programs in a variety of styles;3. Use digital video cameras, lighting, audio equipment in studio and field

production settings;4. Plan, script, and direct a program from pre-production through post-production;5. Collaborate on video productions in multiple crew positions;6. Use non-linear editing systems and other post-production software to create

digital programs;7. Demonstrate knowledge of professional set behavior, collaboration techniques,

and ethics; and8. Demonstrate familiarity with various filmmaking industry opportunities in the

Puget Sound region and beyond.

When we rewrote these outcomes a couple of years back we embedded appropriate program outcomes into the required coursework and learning outcomes for different classes. For example, POG #1 is reflected in several of our courses outcomes. In Cinema 201 LO #5 is “Identify and analyze the impact of history, culture, and related media on cinema”; in Film 256: Video Production I outcome #3 is: Identify the historical and cultural concepts of image composition and aesthetics; in Film 265: Editing I: Avid Media Composer there are multiple course outcomes that speak to this POG: #1 Identify and analyze major shifts in editing theory, technology and technique throughout the history of cinema, #2 Examine and analyze the impact of Eisenstein's Soviet Montage Theory, and #3 Analyze the impact editing style has on emotional resonance, story, actors' performance and meaning as well as the cultural specificity of audience interpretation;

We recently have begun tracking POGs #7 and #8 more diligently. Students who are pursuing the AAS-T are required to do an internship. We have recently begun to formalize the process and it now includes doing a self-evaluation at the end of their internship as well as having their site supervisor doing an evaluation of their work that they review with the student before sending to the faculty supervisor.

We have also just begun requiring our students to create resumes and show reels of their work before exiting the program. Requiring these products would also help show that students have completed all our POGs. It would also help to show the professional world or their intended transfer school what kind of skills they have. The reel/resume

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requirement is still an area that needs formalization and development, but that we see as an important aspect to our student’s journey through the program.

2.) Program Information - Comment on the accuracy, congruence, relevance and accessibility of program information for students.

From our student evaluations we can see that our program and college website are lacking pertinent information and difficult to navigate. Only one student who took the survey commented that the website was easy to navigate out of 40 who completed the survey.

Three years ago we hired a professional design team to create a new website for Film/Drama and they came up with an easily navigable and simple design. However, we were told by the Public Information Office that we would not be able to put up the site because it did not look like the Shoreline Community College site (we modeled it off of the Music/Music Tech site, not the general college site). We have the code and the information and would love to put it up if the opportunity arises.

We have been struggling to keep up with the accuracy of our degrees planning sheets and other informational items (brochures). With only one full-time faculty member in the department it is difficult for him to find time to do all the other peripheral work. This is something that needs attention and that we will address later in the assessment.

3) Student Data Trends - Comment on past three year enrollments (Head Counts, FTE); completions (degrees and certificates). Also comment on the retention levels in certain signal courses. This can be measured as the % of those who start the course who do complete it in the same quarter. Retention (% completing courses). Give your interpretation of any obvious trends in this data.

Our enrollment and FTEs have been steadily rising over the past three years. Several things have contributed to this growth: 1) Several college programs similar to ours in the region have been shut down or are being shut down. So students have limited options; 2) The recession. Because we are a professional/technical program students are able to use worker retraining monies to take our classes; and 3) The increased visibility of the program due to faculty and student work. Our faculty have increased our program’s visibility in the region by creating work that has been internationally recognized (and, thus, well-covered in local media). We have served on various boards and advising committees around town. In addition we have created stronger TechPrep articulations with the high schools in the area, made a point to visit classrooms and nonprofits with similar interests. We have also sent our students out to volunteer at different high profile organizations as a part of their coursework; places like the Seattle International Film Festival, the Seattle Lesbian and Gay Film Festival, Reel Grrls, etc.

We don’t have enough data to comment on the specific retention trends for specific classes.

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4) Curriculum - Comment on changes in past three years and planned changes in the coming year. Provide some context for these changes – what triggered them and how were they intended to improve the program?

In the past three years we have created a new two year degree path - an AAS-T in Digital Film Production - to meet the interests of students wanting to spend more time focusing on film and video production while pursuing a two-year degree and, also, for those interested in transferring to a school that offered baccalaureate options in film and video. This degree is replacing our Certificate in Digital Filmmaking (some students have been grandfathered in because they started before the degree was approved in 10.2010). We currently have two other certificates of proficiency that were a part of the curriculum before Fall 2008. We currently have no short-term certificates.

The decision to create the degree was actually sparked by Central Washington University. They wanted to articulate their program with ours and asked us if we would consider making a degree path. The students had also been asking for a two-year degree option in film/video production since there is a 15-credit limit on these classes for the general AA-DTA degree at the college. The curriculum for the AAS-T in Digital Film Production was created by balancing the general undergraduate transfer needs for students wanting to go to CWU with what the faculty and advisory committee thought would be a good base for students wishing to step into the industry directly after completing their two years at Shoreline CC.

Coming changes that we have begun discussing as a department are the addition of short-term certificates to further appeal to the continuing education sector as well as modifications to our degree to help continue the increase in enrollments. However, this work is contingent upon grant monies to support research and development by our department since most of the faculty in the department are part-time.

5) Faculty - Comment on ratio of PT: FT . What is your perspective on the current mix? How does the current mix affect work- loads – for better or worse? Is the status quo sustainable?

We realize that the current economic situation will, most likely, result in more lays offs and program closures on our campus and across the state. In a world where we didn’t have to consider this unfortunate reality this is what we would want to do:

We currently have just one full-time faculty member - Tony Doupe. The rest of the faculty are associate faculty. We have no affiliate faculty in drama or film. We do not believe this mix is sustainable. With the current amount of extra work that is already assigned to full-time faculty (committee work, updating of literature for our department, articulation agreements, etc. etc.) and the expectation that our numbers will rise with the closing of the Seattle Central Community College film and video program at the end of the 2011-2012 school year, we feel that at the very least we need one more full-time faculty member and one part-time permanent staff member who would primarily serve the film/video department.

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We need full time faculty lines. In Digital Filmmaking, there is currently no full time faculty lead and in Drama, Tony is doing the work of two full time faculty members. Jesse in drama and Ruth and Kris in film have been working as if they are full-time faculty for the past three years. They have all been attending meetings at SCC, serving on committees, visiting high schools in the area, working on our promotional materials, advising students, and putting in hours that extend way beyond their associate faculty contracts (none have been offered the opportunity to apply for affiliate status either which would pay them more and require them to put in 15 hours of work per quarter in addition to teaching and holding office hours). Although they have been putting in a lot of extra time (some of which has been compensated with grant monies and some that has not been) there is still more peripheral work that needs to be accomplished to really make our program as strong as all the faculty, full-time or part-time, want it to be. Much of this work is also revenue generating.

● Working to find sponsorship or grant monies to upgrade our theater and outfit it with high definition digital equipment. This would not only help with our student productions and school functions that occur in the theater, but it would allow us to rent out the theater to filmmakers looking to showcase their work or to movie theater companies who want to hold preview screenings. These would be revenue generating and high exposure events for the college. Free (to the public) film preview screenings generally garner between $500 and $2000 for use of a theater for one evening.

● Working on creating a guest lecturer/artist series. This is also a revenue generating idea with the public paying admission to see the work of the filmmaker/artist in the evening. However, we would need funds to pay the guests in advance.

● Creating more articulation agreements with The Evergreen State College, Western Washington University, and, possibly, the University of Washington-Bothell so our students have more options of where to transfer.

● And/or considering expanding the college to allow for us to offer a four-year applied bachelor’s degree in the technical arts. In our student surveys the students overwhelmingly stated that they would like to see a four-year program offered at the college. We believe that partnering with other departments with a technical/arts focus on campus (like VCT and Music Tech) to expand the college offerings to the baccalaureate status would make us stand out in the area as the only public college on the West side of the mountains that offers technical baccalaureate degrees in these areas (there is a baccalaureate in game design at Lake Washington Technical College and an interior design bachelors at Bellevue College, but there are no four year degrees at public colleges in applied BAs in Music Tech or Film).

These goals to expand and work on further revenue generating ideas cannot be accomplished by just one full-time faculty member. At the very least we need to at least have some associate faculty members bumped up to the affiliate level.

6) Resources - Comment on the sufficiency of all resources with respect to faculty, administrative support staff, labs, equipment, facilities in general, and professional

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development. Describe the primary resource issue from your perspective and the implications of not dealing with it.

Our faculty have had a lot of opportunities through different funding sources to continue their professional development. Ruth finished her second Masters in Cultural Studies in June using the Tuition Waiver benefit and was flown to Chicago to update her skills in Avid Media Composer (one of our editing programs). Kris has been able to do additional coursework and certification work in Final Cut Pro (the other editing program that we use) as well. Jesse has taken workshops on improvisational acting and scenic design/construction. Most of our professional development requests have been granted over the past three years.

Our current equipment is fairly up-to-date and well-maintained. Considering the current economic climate we feel lucky to have slowly and steadily been able to acquire more and more equipment and been able to consistently retire outdated and broken equipment.

Here are areas related to this that we would be concerned about if funds were not available for some time:

1) The latest edition of Final Cut Pro is currently being highly scrutinized by the professional filmmaking community. If Apple does not fix some of the technical issues the market will, most like, swing in favor of using Adobe Premier in its place. We would need to send one faculty member to be certified in Adobe Premier or find someone in the area who can teach it. We would also need to upgrade and expand our lab to be outfitted with Premier software.

2) We do need to do routine maintenance on our equipment to keep it functioning properly and replace things that go missing and/or are broken. We also need to be able to upgrade our editing software as new editions roll out.

3) There is a concern that with the excepted increase in students next year that our current production equipment will be over-taxed. However, we will have to see what enrollment is like in Fall 2012 before we can firmly state whether or not we need more cameras, lighting equipment, and sound recording equipment.

4) As the industry is constantly changing, educational institutions are generally always behind technologically. It’s the nature of the beast. However, we have been very strategic in our equipment upgrades and purchases to be as general and beneficial to our students as possible. That being said, there is more equipment that we feel is necessary to continue to be a competitive program that gives our students as much hands-on, up-to-date experience as possible.

We would also like a permanent part-time support staff member specifically for film/video. This person would be in charge of equipment maintenance and check-out, serve as additional technical support for our students and faculty, and perform various administrative tasks for the department.

7) Schedule - Comment on the alignment of the current schedule with the life style, work schedules etc., of the target populations. What changes do you think would make this program more available to the target populations. Illustrate your comments with

59

some examples. Past schedules and enrollment/cancellation patterns; wait lists or class clustering, if applicable.

Our classes seem to be consistently filling. We have experimented with course offerings recently and we don’t always have the best results, but we are working on the best mix of classes considering student needs and faculty areas of expertise. Next quarter we will be, once again, clustering FILM 287 & FILM 256 together due to historical low enrollment in The Documentary (Film 287). We are also working on evaluating our certificates and degrees to ensure that our courses and tinkering with the possibility of taking away the Film/Video electives on the AAS-T degree and making some of the current electives required so that the classes fill. We also hope to continue the discussion with the SCC administration about classes in Film and Cinema that could be better incorporated into the literature about the requirements for the AA-DTA. Currently, only Cinema 201 is listed as an option on the planning sheet for that degree (some Drama classes are listed). We feel this is a deterrent for the regular student population to consider taking one of our courses and, thus, helping us to reach our caps.

We have had one request from a student on the student surveys to offer more evening classes. However, in spring 2011 we had to cancel two evening course offerings (both in Drama, but with high applicability to Film students) so we will have to see if anything but our video version of Cinema 201 will work in the evenings.

8) Partnerships - Describe the main partners and their contributions to the program. These include advisory committee members, employers, benefactors, public agencies, community groups and so forth. What recommendations have you got regards strengthening helpful partnerships?

For the past year and a half, the Drama Department has partnered with the Seattle Repertory Theater and Shoreline’s ESL Department on the iSpeak program. This is a collaborative course that uses acting training as a means of aiding in English Language acquisition and expression. The course has been team taught by ESL and Drama faculty, as well as teaching artists from the Seattle Rep. The Children’s Theater course has also partnered with numerous area elementary schools to bring original plays written, directed, and performed by Shoreline drama students for local elementary school students.

The Film/Video side of the program has strong relationships with the Seattle International Film Festival, the Seattle Lesbian and Gay Film Festival, Reel Grrls, Reel Queer, MEET (the Media Educators consortium for high school and middle school teachers in the area), and more. We currently have students interning at Clatter and Din, Biz Kids, and Victory Studios.

9) Support Services - Comment on the current level of student support with reference to advising, academic probation, financial aid services, tutoring, counseling and so forth. What recommendations do you have on how these can be strengthened?

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Currently, many of our students self-advise or seek out a professor they connect with for advise on what to register for. Ruth is in frequent contact with Ali Zweifach, the Humanities advisor, about current curriculum trends and changes.

The editing classes have used the tutoring services coordinated by Tony Costa with some success. Primarily, they have relied on our contingent staff member, George Watt, for tutoring help (when faculty are unavailable).

10) Revenue Potential - Comment on the possibilities for this. This could be introducing on-line offerings, running a series of fund-raising community events for equipment or other.

Please see the response to #5.

11) The Virtual College - Comment on the current hybrid or on-line offerings and any plans for expansion. This is a priority for the President so any new possibilities that you see will be appreciated.

Currently, we offer several courses online: Cinema 201: The History of Cinema, Cinema 202: The Language of Cinema, Film 285: Screenwriting, Film 286: Film Production Management and Drama 101: Introduction to Theater. We have taught hybrid versions of Cinema 201: The History of Cinema, Film 256: Video Production I, Film 257: Video Production II, Film 285: Screenwriting, and Film 287: The Documentary.

In our student surveys we asked which classes they thought would work primarily in an online or in a hybrid format. Many listed courses we already offer online in this section. However, there was an overwhelming response that our students prefer face-to-face instruction. Thus, we have no plans to expand our current catalog of online and hybrid options. When asked what students liked about the program the overwhelming response was the instructors. One student commented about online offerings that: “...I gain less from them than interacting with a teacher and a classroom of peers.” Our students seem able to look past shortcomings in equipment and facilities because of our instructors. We hope to maintain this level of enthusiasm for our area by offering primarily offering hybrid or face-to-face classes. To reach a wider student body (i.e students pursuing a transfer degree or other areas of focus) we hope to offer one to two online classes a quarter since these are easier to fit into a student’s course schedule.

12) Competition - Comment on where it is located and the level of threat it represents. Could we lose students to other schools, private or public – if we don’t ‘guard our flanks,’ or ‘shore-up’ our defenses? If so to whom and in what way?

The community colleges around us have been cutting their film/video and drama programs in these hard economic times. Two of our closest competition have followed the trend of eliminating arts programs in hard times - Edmonds Community College has eliminated their drama program and Seattle Central Community College will be shutting its doors on its film and video program at the end of the 2011-2012 school year.

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For Film/Video programs there are not many offerings in Western Washington. Public institutions offering somewhat comparable degrees: Bellevue College and Lake Washington Technical College. Private schools offering production-based two-year or four-year degrees: Art Institute of Seattle. Public and private schools offering cinema/media studies degrees (not production focused1): University of Washington, University of Washington-Bothell, and Seattle University. Because of this lack of offerings of production-based degrees in the area and the difference in cost between us and the Art Institute2 we believe that we are well posed to expand our offerings and, possibly, expand into a four-year institution/degree program.

The other local school that offers Drama classes is North Seattle Community College, which we have a great working relationship with. Our students have worked together many times with theirs on both film and theatre projects.

13) Program Access - Comment on the demographics of the past three year enrollment trends and comment on what changes in access are needed. What is your interpretation of why the trends are the way they are?

The students in our program are still, largely, white, young, men. We have been actively recruiting and creating opportunities to encourage larger diversity in the program. This includes the creation of a women in film club (currently being revamped as a women in art club) and a faculty-initiated scholarship through the SCC Foundation for underrepresented populations behind the camera. We have also been examining our curriculum and incorporated outcomes to several classes that require instructors to introduce diverse types of film and international works so we don’t continue to just support the Great Works tradition that has historically excluded so many other filmmakers.

14) Labor Market Opportunities - Comment on what you know about these and on your data source. What do you know about the typical incomes of graduates once they leave the college?

From our degree literature:

Graduates of this Associate in Applied Arts and Sciences may find work in a variety of areas including the film, TV and video production industry, corporate communications,

1 We actually have students who have come to us from cinema studies programs like UW-Seattle’s Comparative Literature Program because they do not offer hands-on instruction or allow for creative endeavors. They are a read/write oriented program.2 We calculated the difference in tuition between doing the BFA program at the Art Institute of Seattle and doing two years at SCC and transferring to CWU to finish a bachelor’s degree and it was a staggering $60,000 difference between the two options. Therefore, we don’t really consider the Art Institute to be a serious challenge since our demographic is looking for a high quality, low cost option.

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video departments, public relations and advertising agencies. There are also other academic transfer options for students interested in further academic work.

Approximately 41,000 people in the state of Washington in 2008 were employed in Arts, Design, Sports, and Media Occupations. The mean average wage for these occupations was $24.78 an hour. In 2008 Camera Operators made an average of $54,380 per year, Film and Video Editors made an annual average of $47,330, and Audio and Video Technicians annually earned $40,3403. Keep in mind that actual earnings may vary significantly. Currently, most work is on a freelance basis.

We have to use the Bureau of Labor Statistics numbers because we have no way to track alums aside from the occasional anecdote that we hear. Tracking alums is one of the duties we would hope to assign to a permanent part-time support staff member.

In our student surveys 78% of the respondents said that they were pursuing our program in pursuit of a career. Only 16% percent said that they wanted to transfer to a bachelor’s program. Although 78% were 50-50 to Very Likely to stay at SCC if we had a baccalaureate program with 50% saying they were Likely or Very Likely to pursue an Applied Baccalaureate if it was offered at SCC. Our understanding of this discrepancy is that students are unaware of transfer opportunities and, also, several have said that they do not want to transfer to CWU because of its location. Since there are no public university bachelor’s programs in Film/Video production in the general Seattle area this means that the area is lacking in baccalaureate options for students who want to stay and work in the area.

It must also be mentioned, and this is something that we stress to our students, that a degree in film is useful far beyond the boundaries of the traditional Film or Television Industry. Visual, cultural and technological literacy, which is effectively the foundation upon which our program is built, are highly valuable skills. For instance, in a New York Times article titled “Is A Cinema Studies Degree the New M.B.A.4”, a student tells why he went to film school: “he studied filmmaking with no intention of becoming a filmmaker. Rather, he saw his major as a way to learn about power structures and how individuals influence each other.“ Companies are also increasingly hiring people to do internal media creation and, as media outlets, availability and distribution models continue to change, our notion of what constitutes “film” shifts and, most importantly, the demand for media content increases exponentially.

3 Source: Bureau of Labor Statistics. (2010, March 2) May 2008 State Occupational Employment and Wage Estimates: Washington. Retrieved From: http://www.bls.gov/oes/2008/may/oes_wa.htm#b27-0000

4 You can access the New York Times article following this link: http://www.nytimes.com/2005/03/06/movies/06vann.html

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PERFORMANCE ARTS + DIGITAL FILMMAKING SURVEY October 2011

Shoreline Community CollegeProgram Review - Fall 2011STUDENT SURVEY

Survey Results

NOTE: DETAILED STUDENT COMMENTS HAVE NOT BEEN INCLUDED DUE TO

THE LARGE NUMBER OF PAGES, BUT ARE AVAILABLE UPON REQUEST FROM THE SCC OFFICE OF INSTITUTIONAL RESEARCH.

 1. Check all degrees and/or certificates you are presently pursuing at Shoreline Community College.  

Digital Film Production (AAAS Deg

  18 37%

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ree)

Writing/Direction for Camera (certificate)

 5 10%

Acting for Stage/Camera (Certificate)

 11 22%

Associate of Arts - Direct Transfer Agreement (AA-DTA)

 10 20%

General AA with emphasis on Cinema & Media Studies

 5 10%

General AA with emphasis in Dramatic Arts

 6 12%

Other - Music Technology        

0 0%

Other - Visual Communication Technologies

 5 10%

Other, please specify

View Responses

 8 16%

2. How many quarters have you attended Shoreline Community College?  

View 49 Responses

 3. Why are you taking Drama/Cinema/Film courses? (Choose all that apply)  

in pursuit

  39

65

of a career

78%

as a hobby/personal enrichment

 21 42%

to transfer to a bachelor's degree

 8 16%

Other (please explain)

View Responses

 6 12%

 

View 50 Responses

 

View 49 Responses

 6. Have you had prior experience in your field of study before attending Shoreline Community College?  

High School

 25

50%

Professional Environment

 9 18%

66

Personal Hobby  

23 46%

Other College  

12 24%

No  

4 8%

Other, please specify

View Responses

 8 16%

 

1Very Likely

 14 28%

2Very likely

 11 22%

350-50

 14 28%

4Not very likely

 8 16%

5No chance

 3 6%

Total 50 100%

 8.If the Drama/Cinema/Digital Filmmaking curriculum had a variety of imbedded short-term certificates that it awarded along the way toward your final degree, how woud it affect your goal of finishing the entire program?

 

Improve my chan

  29

67

ces

58%

Make no difference

 21 42%

Lessen my chances        

0 0%

Total 50 100%

 

View 39 Responses

 

View 43 Responses

 11. Would you like to see more Stage Technology/Stagecraft courses offered at Shoreline Community College?  

Yes

 27

55%

No

 1 2%

What are Stage Technology/Stagecraft courses?

 8 16%

Indifferent  

13 27%

Total 49 100%

 12. Is there a particular course(s), or project(s), that has, or are, helping you to achieve your goals?  

Yes 

34 77%

No 

10 23%

Total 44 100%

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View 37 Responses

 

Yes  

1 2%

No  

32 67%

If Yes, please specify

View Responses

 15 31%

Total 48 100%

 14. Are there any courses in the program that you have not found to be as useful to your goals?  

Yes 

2 4%

No 

47 96%

Total 49 100%

View 4 Responses

Directions: Rate the program on each of the items listed below by clicking on the most appropriate number (1 - excellent or high, 5 - Poor or low). If an item is not applicable, click on the 'NA' button. Comments are encouraged and may be written under each item.   Please do not mention individual faculty names. Thank you.

 

69

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

Excellent Good Fair Not so good Poor N/A

. 816%

2448%

1224%

12%

24%

36%

View 6 Responses

 

16.

Effective curriculum structure:

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

Excellent Good Fair Not so good Poor

N/A

. 1836%

2856%

48%

00%

00%

00%

View 2 Responses

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

Excellent Good Fair Not so good Poor N/A

. 2244%

2040%

510%

12%

00%

24%

View 3 Responses

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

Excellent Good Fair Not so good Poor N/A

. 2448%

1632%

612%

00%

00%

48%

View 5 Responses

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19.

Ad

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

Excellent Good Fair Not so good Poor N/A

. 1836%

2142%

714%

00%

00% 4

 

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

Excellent Good Fair Not so good Poor N/A

. 1428%

1632%

1326%

36%

00%

48%

 

21.

Class schedules meet student needs:

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

Excellent Good Fair Not so good Poor N/A

. 2346%

1836%

918%

00%

00%

00%

View 2 Responses

 

ToAcademic advising Excellent Good Fair Not so good Poor

N/A

71

p

number

is

the

count

of

respondents

selecting

the

option.

Bottom

%

is

percent

o

meets student needs:

72

f

the

total

respondents

selecting

the

option.22.

. 1735%

1633%

1020%

00%

00%

612%

View 5 Responses

 

 Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

Excellent Good Fair Not so good Poor N/A

. 1734%

1326%

1122%

24%

00%

714%

View 4 Responses

73

 

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

Not at all Not likely 50-50 Likely Very likely N/A

. 00%

12%

714%

1734%

2550%

00%

View 6 Responses

74

25. How did you hear about this program?  

Website  17 34%

Advisor  11 22%

Other, (please explain)

View Responses

 22 44%

Total 50 100%

 26. Why did you select this program rather than one at a different college?  

View 49 Responses

27.

View 46 Responses

 28. What changes would improve the program or service to students?  

View 41 Responses

NOTE: DETAILED STUDENT RESPONSES WERE NOT INCLUDED IN THIS REPORT

DUE TO THE NUMBER OF PAGES, BUT THEY ARE AVAILABLE FROM THE OFFICE OF INSTITUTIONAL RESEARCH UPON REQUEST.

75

PERFORMANCE ARTS + DIGITAL FILMMAKING ADVISORY COMMITTEE SURVEY SUMMARY

August, 2011

Drama/Cinema/Performance Arts/FilmmakingADVISORY COMMITTEE SURVEY

 Your feedback is needed on the Performance Arts/Digital Filmmaking Program. This survey is an important part of the colleges' program review process to help faculty and administrators better understand how industry representatives view the program and its ability to meet labor market needs in this field. This is part of the program's required External Evaluation. Advisory Committee input will be summarized without names and shared collectively with the faculty, deanand you to use in future planning and program development.Thank you for your assistance. We value your feedback and suggestions. Our goal is 100% response.THANK YOU!

......................................................................Directions: Please type in comments or numerical ratings for each of the questons below.We would appreciate your response by:  August 31, 2011

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Survey Results

Assessment of Student Learning:1. What do you know about the ways in which attainment of Performance Arts/Digital Filmmaking student

learning outcomes are assess at this college? (tools/measures used and performance levels expected)

They are assessed on the work they create. And their understanding for the art form and how to apply it to the work they create.

Curriculum:2. What would you describe as the major strengths of this program?

Students get real world training and they learn how to collaborate and work with others. They also are able to build a pipeline of other students and partners in the industry to work with and use as a solid support system.

Teaching usable skills in an exciting industry and a cost that makes it accessible to many.

3. Based on your experience as an advisory committee member, how well is the program curriculum aligned with industry needs?

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

High1 2 3 4

Low5

Rating 2100%

00%

00%

00%

00%

4. What suggestions do you have to help the program better align with current and emerging industry needs?

More opportunities for students to work on active local film sets while attending classes. More and better opportunities for classes that breed collaboration and creating hands on experiences.

Continue to keep the equipment as up to date as possible with what industry is using. This does not mean top of the line, but equipment that will make the students adaptable to common production situations when they graduate.

Resources and Facilities:5. Based on your experience, how adequate are program resources (space, information technology,

equipment, etc.) and what are the unmet needs?.

Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

High1 2 3 4

Low5

Rating 00%

2100%

00%

00%

00%

Partnerships:6. How well do you think the technical advisory committee functions, and what improvements

would you suggest?

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Top number is the count of respondents selecting the option.Bottom % is percent of the total respondents selecting the option.

High1 2 3 4

Low5

Rating 00%

150%

150%

00%

00%

7. What role does your business/company play in supporting the program?

Advice on curriculum2 100%

Equipment donations0 0%

Internship or mentoring opportunities of students 1 50%Employment opportunities for graduates 1 50%

Other, Please describe0 0%

Comparison with Other Programs:8. What do you believe makes this program unique or different from other programs in the surrounding area?

Gives students the real world skills they need to go out and work in the film industry and become thriving filmmakers themselves.

That it is offered a a community college. Most other community colleges in the area have cut similar programs. I think it very important to have a program available to those who want to learn the industry. If the only option was for profit schools, it would be very disheartening.

Employment Prospects:9. What is the most important skill or quality that students need to be successful in this career path? Does this

program provide students an opportunity to learn that skill or quality?

Flexibility, adaptability, determination, passion for the art. Yes, this program allows students with those qualities to succeed.

Adaptability and problem solving, which is taught be having students complete projects.

10. For what fields do you believe the coursework in the Drama/Cinema/Performance Arts/Digital Filmmaking program prepares the students? (besides narrative film and theatrical productions)

Marketing, advertising, and any career that needs people to understand what makes a story powerful and compelling to others.

Like many classes, students will learn skills that would be useful in many areas. It is why people go to college. You study certain subjects, but what you learn isn't always applied to that specific subject. I think many of the classes taught within the program would have useful aspects in many areas. Problem solving, team work, thinking outside the box, and even working with the technology that could be applied to many different work environments.

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Questions or Final Comments:11.

This is a great program and can grow into one of the top programs in the Northwest.

ADDITIONAL PROGRAM DATA

STUDENT GENDER HEADCOUNT

Program Options A89 A90 B01 Grand TotalAct/Stage Cert 27 34 21 82

F 13 17 9 39M 14 16 11 41(blank) 1 1 2

Dig Film Prod - AAAS 2 1 14 17F 1 1 3 5M 1 10 11(blank) 1 1

Dig Film Tech 41 39 20 100F 14 10 5 29M 25 29 14 68(blank) 2 1 3

Write/Dir Cert 23 21 16 60

79

F 9 8 1 18M 13 13 14 40(blank) 1 1 2

Grand Total 93 95 71 259

PERCENTAGE OF HEADCOUNTProgram Options A89 A90 B01 Grand TotalAct/Stage Cert 29.03% 35.79% 29.58% 31.66%

F 13.98% 17.89% 12.68% 15.06%M 15.05% 16.84% 15.49% 15.83%(blank) 0.00% 1.05% 1.41% 0.77%

Dig Film Prod - AAAS 2.15% 1.05% 19.72% 6.56%F 1.08% 1.05% 4.23% 1.93%M 1.08% 0.00% 14.08% 4.25%(blank) 0.00% 0.00% 1.41% 0.39%

Dig Film Tech 44.09% 41.05% 28.17% 38.61%F 15.05% 10.53% 7.04% 11.20%M 26.88% 30.53% 19.72% 26.25%(blank) 2.15% 0.00% 1.41% 1.16%

Write/Dir Cert 24.73% 22.11% 22.54% 23.17%F 9.68% 8.42% 1.41% 6.95%M 13.98% 13.68% 19.72% 15.44%(blank) 1.08% 0.00% 1.41% 0.77%

Grand Total 100.00% 100.00% 100.00% 100.00%

STUDENT ETHNICITY HEADCOUNT

Row Labels A89 A90 B01Grand Total

Act/Stage Cert 27 34 21 82African American 1 4 5 10Asian/Pacific Islander 1 2 3Hispanic 3 4 1 8Other Race 1 2 3 6White 22 23 10 55

Dig Film Prod - AAAS 2 1 14 17African American 2 2Other Race 1 1 2

80

White 1 12 13Dig Film Tech 41 39 20 100

African American 3 4 7Asian/Pacific Islander 3 5 1 9Hispanic 1 3 1 5International Student 1 1 1 3Native American 3 3Other Race 3 6 4 13White 27 20 13 60

Write/Dir Cert 23 21 16 60African American 1 2 3Asian/Pacific Islander 2 2 4Hispanic 4 3 7International Student 1 1Native American 1 1Other Race 4 3 2 9White 12 11 12 35

Grand Total 93 95 71 259

STUDENT ETHNICITY

PERCENTAGE OF HEADOUNT

Row Labels A89 A90 B01Grand Total

Act/Stage Cert 29.03% 35.79% 29.58% 31.66%African American 1.08% 4.21% 7.04% 3.86%Asian/Pacific Islander 0.00% 1.05% 2.82% 1.16%Hispanic 3.23% 4.21% 1.41% 3.09%Other Race 1.08% 2.11% 4.23% 2.32%White 23.66% 24.21% 14.08% 21.24%

Dig Film Prod - AAAS 2.15% 1.05% 19.72% 6.56%African American 0.00% 0.00% 2.82% 0.77%Other Race 1.08% 1.05% 0.00% 0.77%White 1.08% 0.00% 16.90% 5.02%

Dig Film Tech 44.09% 41.05% 28.17% 38.61%African American 3.23% 4.21% 0.00% 2.70%Asian/Pacific Islander 3.23% 5.26% 1.41% 3.47%Hispanic 1.08% 3.16% 1.41% 1.93%International Student 1.08% 1.05% 1.41% 1.16%

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Native American 3.23% 0.00% 0.00% 1.16%Other Race 3.23% 6.32% 5.63% 5.02%White 29.03% 21.05% 18.31% 23.17%

Write/Dir Cert 24.73% 22.11% 22.54% 23.17%African American 1.08% 2.11% 0.00% 1.16%Asian/Pacific Islander 0.00% 2.11% 2.82% 1.54%Hispanic 4.30% 3.16% 0.00% 2.70%International Student 1.08% 0.00% 0.00% 0.39%Native American 1.08% 0.00% 0.00% 0.39%Other Race 4.30% 3.16% 2.82% 3.47%White 12.90% 11.58% 16.90% 13.51%

Grand Total 100.00% 100.00% 100.00% 100.00%

ECONOMICALLY DISADVANTAGED STUDENTS

HEADCOUNTCount of NewSID Column Labels

Row Labels Y (blank)Grand Total

A89 24 69 93Act/Stage Cert 8 19 27Dig Film Prod - AAAS 1 1 2Dig Film Tech 9 32 41Write/Dir Cert 6 17 23

A90 21 74 95Act/Stage Cert 11 23 34Dig Film Prod - AAAS 1 1Dig Film Tech 6 33 39Write/Dir Cert 3 18 21

B01 21 50 71Act/Stage Cert 6 15 21Dig Film Prod - AAAS 6 8 14Dig Film Tech 3 17 20Write/Dir Cert 6 10 16

Grand Total 66 193 259

82

PERCENTAGE OF HEADCOUNT

Row Labels Y (blank)Grand Total

A89 36.36% 35.75% 35.91%Act/Stage Cert 12.12% 9.84% 10.42%Dig Film Prod - AAAS 1.52% 0.52% 0.77%Dig Film Tech 13.64% 16.58% 15.83%Write/Dir Cert 9.09% 8.81% 8.88%

A90 31.82% 38.34% 36.68%Act/Stage Cert 16.67% 11.92% 13.13%Dig Film Prod - AAAS 1.52% 0.00% 0.39%Dig Film Tech 9.09% 17.10% 15.06%Write/Dir Cert 4.55% 9.33% 8.11%

B01 31.82% 25.91% 27.41%Act/Stage Cert 9.09% 7.77% 8.11%Dig Film Prod - AAAS 9.09% 4.15% 5.41%Dig Film Tech 4.55% 8.81% 7.72%Write/Dir Cert 9.09% 5.18% 6.18%

Grand Total 100.00% 100.00% 100.00%

GRADE FREQUENCIES

NUMERICAL COUNT

Row Labels A89 A90 B01Grand Total

Act/Stage Cert 142 193 76 411* 2 1 3A 78 98 46 222B 20 28 5 53C 7 9 5 21D 4 6 3 13F 7 12 4 23I 1 1 2N 2 2NC 7 7 5 19P 10 12 1 23V 2 6 1 9W 1 6 1 8Z 3 6 4 13

Dig Film Prod - AAAS 7 4 43 54* 4 4

83

A 6 2 10 18B 11 11C 8 8D 1 1F 1 1I 1 1NC 7 7P 1 1 2W 1 1

Dig Film Tech 223 184 68 475* 3 2 1 6A 102 79 38 219B 50 40 10 100C 18 26 4 48D 6 8 1 15F 7 8 6 21I 4 1 5N 2 2NC 13 8 1 22P 5 5 2 12V 4 2 3 9W 5 4 9Z 4 2 1 7

Write/Dir Cert 173 128 74 375* 2 3 5A 107 63 43 213B 23 24 14 61C 6 10 4 20D 6 3 5 14F 9 4 4 17I 2 1 3N 1 1NC 2 5 2 9P 8 9 1 18V 1 2 3W 5 3 8Z 1 2 3

Grand Total 545 509 261 1315

PERCENTAGE FREQUENCIES

84

Row Labels A89 A90 B01Grand Total

Act/Stage Cert 26.06% 37.92% 29.12% 31.25%* 0.00% 0.39% 0.38% 0.23%A 14.31% 19.25% 17.62% 16.88%B 3.67% 5.50% 1.92% 4.03%C 1.28% 1.77% 1.92% 1.60%D 0.73% 1.18% 1.15% 0.99%F 1.28% 2.36% 1.53% 1.75%I 0.18% 0.20% 0.00% 0.15%N 0.37% 0.00% 0.00% 0.15%NC 1.28% 1.38% 1.92% 1.44%P 1.83% 2.36% 0.38% 1.75%V 0.37% 1.18% 0.38% 0.68%W 0.18% 1.18% 0.38% 0.61%Z 0.55% 1.18% 1.53% 0.99%

Dig Film Prod - AAAS 1.28% 0.79% 16.48% 4.11%* 0.00% 0.00% 1.53% 0.30%A 1.10% 0.39% 3.83% 1.37%B 0.00% 0.00% 4.21% 0.84%C 0.00% 0.00% 3.07% 0.61%D 0.00% 0.00% 0.38% 0.08%F 0.00% 0.20% 0.00% 0.08%I 0.00% 0.00% 0.38% 0.08%NC 0.00% 0.00% 2.68% 0.53%P 0.18% 0.00% 0.38% 0.15%W 0.00% 0.20% 0.00% 0.08%

Dig Film Tech 40.92% 36.15% 26.05% 36.12%* 0.55% 0.39% 0.38% 0.46%A 18.72% 15.52% 14.56% 16.65%B 9.17% 7.86% 3.83% 7.60%C 3.30% 5.11% 1.53% 3.65%D 1.10% 1.57% 0.38% 1.14%F 1.28% 1.57% 2.30% 1.60%I 0.73% 0.00% 0.38% 0.38%N 0.37% 0.00% 0.00% 0.15%NC 2.39% 1.57% 0.38% 1.67%P 0.92% 0.98% 0.77% 0.91%V 0.73% 0.39% 1.15% 0.68%W 0.92% 0.79% 0.00% 0.68%Z 0.73% 0.39% 0.38% 0.53%

Write/Dir Cert 31.74% 25.15% 28.35% 28.52%* 0.37% 0.59% 0.00% 0.38%

85

A 19.63% 12.38% 16.48% 16.20%B 4.22% 4.72% 5.36% 4.64%C 1.10% 1.96% 1.53% 1.52%D 1.10% 0.59% 1.92% 1.06%F 1.65% 0.79% 1.53% 1.29%I 0.37% 0.00% 0.38% 0.23%N 0.18% 0.00% 0.00% 0.08%NC 0.37% 0.98% 0.77% 0.68%P 1.47% 1.77% 0.38% 1.37%V 0.18% 0.39% 0.00% 0.23%W 0.92% 0.59% 0.00% 0.61%Z 0.18% 0.39% 0.00% 0.23%

Grand Total 100.00% 100.00% 100.00% 100.00%

86