to: · web viewtopics covered include: (1) introduction to film language and sound design, (2)...

TO: Beth Dobkin, Provost

FROM: Mindy Thomas, ChairAcademic Senate

DATE: March 9, 2017

RE: Senate Action S-16/17-40CACOMM 133, Video ProductionChange in Prerequisites

At the March 8, 2017 meeting of the Academic Senate, the proposal for a change in the prerequisites for COMM 133, Video Production was accepted on the Consent Agenda. This item was approved by the Undergraduate Educational Policies Committee at its February 27, 2017 meeting by a vote of 8-0-0.

This action was assigned Senate Action # S-16/17-40CA.

Attachment

Cc: President James A. Donahue Dean Sheila Hassell Hughes

§

February 17, 2017

Dear Committee Members:

The Communication Department requests that the Undergraduate Educational Policies Committee (UEPC) approve the following change to our curriculum: we would like to the have the prerequisite for Comm 133: Video Production removed.

This prerequisite is a fairly recent addition to our curriculum. It was put in place to provide what seemed at the time a more professional and articulated sequence of courses which built upon each other, growing in complexity of production technique and theory. This decision was made well after the course had been established as an upper division course, and had no bearing on distinguishing the course from its lower division counterparts or on meeting the UEPC criteria for establishing a course as an upper division course. In the time since its implementation, the prerequisite has proven to be a hindrance to our students based on competing course offerings and scheduling conflicts. The prerequisite course Comm 125: Media Technologies and Culture is chronically over-enrolled and serves several populations on campus – core, business, and communication – making it difficult for students in our major to complete the prerequisite course and progress to Comm 133 on a timeline that facilitates timely completion of major graduation requirements. Our department feels that maintaining Comm 125 as a prerequisite for Comm 133 is undermining our curricular stability and is not serving in the best interests of our students, and this is why we are proposing to eliminate it.

As you are aware, the UEPC’s “Procedures for Proposals for New Permanent Courses” outlines four criteria which characterize upper division courses and stipulates that upper division courses must meet at least two of the four criteria. While having college-level prerequisites is the first of these, the other three are that the course must:

b)require an in-depth study of a subject rather than a survey or introduction, and presume the necessary introductory work has been completed;

c)demand rigorous reading/writing/discussion skills as well as an intellectual readiness and personal maturity in handling complex issues that are characteristic of advanced students; [and]

d)include course objectives that entail high levels of cognitive, affective, or psychomotor achievement

Removing the prerequisite for Comm 133 should have no impact upon the course’s designation as upper division, as the course still meets all three of the remaining criteria, exceeding the minimum requirements for upper division designation established by the UEPC.

Saint Mary’s College of California

1928 St. Mary’s Road, Moraga, CA 94575

mobile. 310.779.4908 office. 925.631.8151

www.stmarys-ca.edu, [email protected]

Communication Department

http://www.stmarys-ca.edu/

mailto:[email protected]

Comm 133: Video Production provides students with instruction in a specialized topic. In our curriculum, courses which have specialized topics are by their very nature more advanced than classes that have general topics as their core content, and Comm 133 is no different. In this manner, the course clearly meets Criterion B listed above: it is not a survey or an introduction to the general field of Communication but is, rather, an in-depth exploration of digital video production, including film language, production workflow, cinematography and lighting, video editing, and post-production techniques.

In addition, while Comm 133 does not have a standard or static reading list, each time it is offered, the professor assigned to the course draws upon his or her expertise to identify rigorous literature to inform the course content and uses these readings as the intellectual launchpad for the course. In addition, as an application-based course, Comm 133 is based upon student production – students are required not only to read and understand high-level concepts but also to apply them in new and novel ways. In the process of translating theory into practice, students are required to engage in high levels of writing and discussion in order to achieve the quality of production that we expect of them. As you know, media products are, by their very nature, complex in both their intended and actual messages, and our students’ projects in this course are no different. In order to navigate the topics with which they engage, they must demonstrate both intellectual readiness and emotional maturity in order to produce effective final products. In this manner, Comm 133 also clearly meets Criterion C listed above.

Finally, the course objectives for Comm 133 entail high levels of cognitive and affective achievement, satisfying Criterion D. As noted in the previous paragraph, the complexity of the media documents produced for this course require both intellectual and emotional engagement, both on the part of the student authors and on the part of their intended audiences. In order to be successful, students must demonstrate high levels of mastery in both areas in the communication media documents that form a significant portion of the assessment for this course.

It should be noted that, other than our methodology courses, Comm 132, Comm 133, and Comm 143 are the only courses in our department that have required prerequisites. (We are submitting similar requests for Comm 132 and Comm 143 under separate cover.) When we established Comm 125 as a prerequisite for Comm 132 and Comm 133, and Comm 132 and Comm 133 as prerequisites for Comm 143, we conceived of Comm 125 as providing a foundation for the other courses, but in practice the courses actually cover discrete and distinct topics in production. Comm 125 focuses on a survey approach to the field of media studies (which includes aesthetics and practice); Comm 132 focuses on audio production; Comm 133 focuses on video production; and Comm 143 on advanced topics such as gaming and social media. Each of these areas of production overlaps with regard to practical procedures to some extent, but each also develops within an essentially autonomous set of historical and theoretical constraints (think radio industry versus movie industry).

In addition, in our Comm 133 course, we routinely provide a review for our students in the basics of production and scaffold instruction throughout the course (building upon all of the skill sets and background knowledge that the students as a

whole bring to the classroom and the production setting). The desire for articulation, although common in professional programs of media instruction, has limited what we can provide in the more general setting of a small communication department in a liberal arts college.

In short, by removing the prerequisite, we will be able to provide access to the course for students who need it to graduate while still allowing students to gain the full knowledge of the instructional content designated for the course and maintaining the rigor required of it as an upper division course.

Here is the course description copy as it appears in the current catalog:

133 Video Production [Application]

This course introduces students to the basics of digital video production. Topics covered include: (1) introduction to film

language and sound design, (2) video camera basics and video-production workflow, (3) cinematography and lighting, (4)

non- linear video editing, and (5) post-production techniques. Prerequisite: Communication 125.

And here is how it should appear in the 2017-18 course catalog:

133 Video Production [Application]

This course introduces students to the basics of digital video production. Topics covered include: (1) introduction to film

language and sound design, (2) video camera basics and video-production workflow, (3) cinematography and lighting, (4)

non- linear video editing, and (5) post-production techniques.

Sincerely,

Dan Leopard Chair Communication

Note: Since, as noted above, the argument is same for all three course from which we wish to have prerequisites removed, the letters are in large part the same for all three, with the specific course for which we are requesting the change featured therein.

Attachments:Exhibit 1 – Sample Syllabus, including Learning Objectives Exhibit 2 – Dean’s Approval

Comm 133: Video Production – Sample Syllabus

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Video Production

Comm 133Saint Mary’s College of California

Semester

Day/Time: Professor: Office: Office Hours: Email: Phone:

COURSE DESCRIPTIONThis course introduces students to the basics of digital video production. Topics covered include: (1) introduction to film language and sound design, (2) video camera basics and video- production workflow, (3) cinematography and lighting, (4) non-linear video editing, and (5) post- production techniques, including distribution. The objective of this class is to give students the necessary skills to make videos, but more importantly, to create and communicate informed and meaningful content in digital platforms. In this course we strive to merge film theory and practice by constructing works of both technical and intellectual sophistication.

LEARNING OBJECTIVES

Upon completion of this course students will be able to:

1. Analyze and complete the stages and sub-stages of film production: pre-production, production, and post-production.

2. Understand, analyze, and creatively apply fundamentals of mise-en-scene.3. Understand, analyze, and apply technical and creative principles of cinematography (for

digital video).4. Understand, analyze, and apply technical and creative principles of film editing,

including continuity and non-continuity approaches as conducted on non-lineal editing systems.

5. Utilize the vocabulary of industry-oriented commercial film production.6. Locate and critically analyze the films of others and their own work within filmic traditions

of realism, the Classical Hollywood Cinema, the New Wave, experimental and documentary modes, and genre.

7. Complete a short video that represents their command of the moving image and the larger digital media landscape in which it circulates.

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EXPECTATIONSAt each class students will be challenged to situate their work in larger social and intellectual contexts both inside and outside of Saint Mary’s College and the filmmaking world. Students are encouraged to experiment beyond what is being taught in this production course but all work must be thoughtful and well-crafted. Students should set goals for themselves that are challenging, critical, and conscious. Students will be treated as filmmakers and should approach projects for their own benefits rather than simply completing a class assignment. The learning environment should be conscious of students’ diversity and participants should feel empowered to share ideas openly and freely.

COURSE REQUIREMENTSYou are required to produce 3 video projects: 1 individual project and 2 group productions; construct one still image narrative; complete a midterm that examines basic film/video vocabulary; participate in online discussions; and complete periodic homework assignments asking you to reflect upon film concepts.

You are required to give respectful and constructive feedback during writing and screening workshops.

Approx. costs: $50-$200 (food, props, transportation, etc)

REQUIRED TEXTSBordwell, David and Thompson, Kristen (2009). Film Art: An Introduction (10th Edition). McGraw- Hill.

Nichols, Bill (2010 ). Introduction to Documentary. (2nd edition) Bloomington, IN: Indiana University Press.

Ascher, Steven and Pincus, Edward (2012). The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age. Plume

ALSO REQUIRED: An external hard drive suitable to store large video files.

Additional Reading will be provided via Electronic Reserves

This is a course about the moving image, not the written word. Nonetheless, your filmmaking skills will advance more quickly if you can build on existing theories and techniques ... and, quite simply, a lot of those theories and techniques are written down. Consequently, reading assigned texts before class is critical and will be part of your participation grade. Because we will be reading from a range of texts, often material will be posted via the course Moodle site.

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GRADING STANDARDS

“C” indicates an adequate command of the substantive material of the course as demonstrated through class participation and satisfactory completion of class assignments and papers.

“B” indicates significantly above average engagement with the course and its requirements.

“A” indicates mastery of course material and represents a sophisticated analysis or creative treatment of the ideas and materials covered in the course.

“D” indicates that less than satisfactory work has been accomplished.

“F” indicates a failure to meet the minimum requirements for the course.

COURSE LOGISTICS

Incompletes or Missing Projects. Late assignments or projects should be discussed with the professor and may be subject to penalty. Incompletes will be determined on a case-by-case basis. Midterm exam essays and final papers/projects are due at the beginning of class on the due date.

Academic Integrity. Saint Mary’s College expects the highest standards of academic excellence and ethical performance from students. It is particularly important that you are aware of and avoid plagiarism, cheating on exams, submitting a paper to more than one instructor, or submitting a paper authored by anyone other than yourself. Violations of this policy will result in a failing grade and be reported to the Office of Advising. If you have any doubts or questions about these policies, consult the student handbook and/or confer with the professor. The MLA Handbook provides concise advice on how to avoid plagiarism – read chapter 2.

Student Disability Services. Student Disability Services extends reasonable and appropriate accommodations that take into account the context of the course and its essential elements for individuals with qualifying disabilities. Students with disabilities are encouraged to contact the Student Disability Services Office at (925) 631-4358 to set up a confidential appointment to discuss accommodation, policies, guidelines and available services. Additional information regarding the services available may be found at the following address on the Saint Mary’s website: http://www.stmarys-ca.edu/sds

PRODUCTION ASSIGNMENTS DESCRIPTION (ASSESMENT):(detailed individual prompts will be given in advance of each project)

#1 – STILL IMAGE NARRATIVE (Individual)Tell a story with 9 images.Take 9 photos and create a complete and coherent narrative. Photos must be presented in slideshow format in class

#2- CONCEPT SHOOTING ASSIGNMENT (Individual)Duration: Max 2 minutes. Shoot ONE long take.

http://www.stmarys-ca.edu/sds

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#3 – NARRATIVE SHOOTING ASSIGNMENT (Group)Duration: Max. 5 min. No dialogue narrative.It can be of any genre – comedy, tragedy, horror, western, etcMust include sound design (on-location sound, ambience, sound effects etc)

#4 – FINAL FILM (Group or Individual) Duration: Max. 5 mins.Documentary, Experimental, or Narrative of any genre. Must address a “social justice issue” (We will discuss this term).Voice over or dialogue may be used. Must include sound design and polished editing. 3-5 page write-up placing your final project within the context of the course.Due during our scheduled Final Exam meeting

In addition to these major assessment projects, you will be expected to contribute regularly to online discussion forums and to complete a take-home midterm essay exam. Individual assignment sheets will be given for each project.

Each student is required to give one in-class presentation (about 10 minutes long) on an assigned portion of the readings.

RULES & LIMITATIONSAll projects must not exceed 5 minutes in length.

Minimal music will be allowed for the films; however, it cannot be copyrighted music. (Some exceptions may apply).

All final project narrative scripts or documentary proposals must be approved before principal photography.

GRADING POLICYAttendance and Participation 15%Still Image Project 15%Online Discussions 5%Take-home midterm 10%Individual Project #1 15%Group Project #1 20%Final Project 20%

Total 100%

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COURSE SCHEDULE(subject to change with notice)

WEEK 1INTRODUCTION, NARRATIVE, TECHNICAL OVERVIEWEstablish goals and overview of course.Discuss class objectives and knowledge of video production. Discuss the stages of film productionScreening and critique: “Atomic Tabasco” (d. James Cox), La Jette, (d. Chris Marker)Assignment for Week 3: Tell a story with 9 images.Take 9 photos and create a complete and coherent narrative. Photos must be arranged digitally and presented in class.Reading: Filmmaker’s Handbook, Chapter 1 and 3 and Film Art, Chapters 1-2

WEEK 2MISE-EN-SCENEReading: Film Art, Chapters 3 and 4, Filmmaker’s Handbook, Chapters 2 and 4Screening and critique: Do the Right Thing (1989, d. Spike Lee), 8 Women (2002, d. Oliver Assayes), Zodiac (2007, d. David Fincher)

WEEK 3CINEMATOGRAPHY (Camera Movement) and STUDENT WORKReading: Film Art, Chapters 5 and 8. Filmmaker’s Handbook, Chapters 6 and 7Screening and critique: Presentation of “9 images” assignment; the long take: The Player (1992,d. Robert Altman), The Big Sleep (1946, d. Orson Wells), The Mirror (1975, d. Andrei Tarkovsky), Oldboy (2003, d. Chan-wook Park), “A Study of Choreography for the Camera” (1945, d. Maya Daren)

WEEK 4EDITINGReading: Film Art, Chapter 7. Filmmaker’s Handbook, Chapters 10 and 11Screening: Dead Man (d. Jim Jarmusch), Romeo + Juliet (Baz Lurhman)

WEEK 5 – September 30STUDENT WORKScreening: Screen Long Takes

WEEK 6FILM SOUNDS and SCRIPTWRITINGDiscuss the basics of a screenplay: format, 3-Act structure in narrative and documentaries.Reading: Film Art, Chapters 7 and 9. Filmmaker’s Handbook, Chapter 10Screening and critique: The Conversation (1974, d. Francis Ford Coppola), Punch Drunk Love (2002, d. Paul Thomas Anderson), There Will be Blood (2007, d. Paul Thomas Anderson) Group work: Get into groups to discuss projects. Prep for Short Video Project #1

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WEEK 7LIGHTINGDiscuss aesthetics of lighting. Demo lighting techniques.Screening and critique: Selected clips. Paris is Burning (1990, d. J. Livingston), The Cabinet of Dr. Caligari (1920, d. Robert Weine), Se7en (1995, d. David Fincher), 3 point lighting examples Reading: Film Art, Chapter 8. Filmmaker’s Handbook, Chapter 2MIDTERM EXAM DUE OCT 28

WEEK 8EDITING and IN-CLASS SCREENINGEdit short video assignment #1Screening and critique: Short Video Project - Rough Draft

WEEK 9DOCUMENTARY and STUDENT WORKDiscuss different modes of documentaryReading: Introduction to Documentary (Nichols): “What types of Documentary are there?” Reading: “Kill the Documentary as We Know it” Jill Godmillow (linked to Moodle page) SCREENING: Examples of Documentary ModesSCREENING: Final Short Video Assignment #1

WEEK 10SCREENING: Final Short Video Assignment #1

WEEK 11DOCUMENTARY (Cont.) and EXPERIMENTAL VIDEOREADING: Film Art, Chapter 10SCREENING: Scorpio Rising (1964, d. Kenneth Anger), Blue (1993, d. Derek Jarman), Meshes of the Afternoon (1943, d. Mayan Deren and Alexander Hammid), Reassemblage (1983, d. Trinh T. Minh ha)

Discuss/Shoot/Edit final projects.

WEEK 12STUDENT WORKSHOPDiscuss/Shoot/Edit final projects.

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WEEK 13

THURSDAY: THANKSGIVING HOLIDAY – NO CLASS

WEEK 14

Screen Rough Cuts of Final Project – Critique session

WEEK 15

FILM

FINALS

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Comm 133: Video ProductionMidterm PromptProfessor:

Directions: This midterm will be due on [date]. Your document must be e- mailed to the professor by 2pm of that afternoon.

Your assignment is to develop a sustained analysis of a full-length film, merging artistic, technical, and thematic concerns. That is, how does the formal style of film, achieved via technical and artistic choices and expressed as mise-en-scène (among other properties) develop and support the overall argument of the film?

All of the terms below have been discussed with examples in class notes and are included in the glossary of Bordwell and Thompson’s Film Art: An Introduction. It is not necessary to include each term, though you must discuss genre. Nor should your analysis just be a list of formal traits; rather it is to be a thesis-driven analysis connecting film style and theme that includes some of the below terms – and/or others we have discussed – as relevant.

1. Angle of framing (camera angle)2. Axis of Action (180 degree rule)3. Continuity editing/discontinuity editing4. Diegetic sound5. Eyeline match6. Framing7. Exposure8. Genre9. Graphic match10. 3 point lighting11.Reestablishing shot12.Camera movement13.Establishing shot14.Match-on-action

Your paper should be 5-8 pages in length and typed in 12 point font. You must approve your film selection with me. You may choose any film we have viewed clips from in class or go beyond our class. Please feel free to let me know if you have any questions.

Friday, Feb 17, 3:33 PM

Re: Changes to Course Pre-Requisites

by Sheila Hughes | [email protected]

Hi Dan,

These proposals seem very reasonable to me and I am happy to endorse the removal of the Comm 125 course as a prerequisite for all three courses in question (Comm 132, 133, and 143). I do not believe this merits SOLA-wide consultation.

cheers, Sheila

Sheila Hassell Hughes Dean, School of Liberal ArtsSaint Mary's College of California

At Saint Mary's College, we take the Liberal Arts out of the box!

mailto:[email protected]

to: · web viewtopics covered include: (1) introduction to film language and sound design, (2)...

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