TO: Beth Dobkin, Provost

FROM: Mindy Thomas, ChairAcademic Senate

DATE: March 9, 2017

RE: Senate Action S-16/17-42CACOMM 143, Advanced Media ProductionChange in Prerequisites

At the March 8, 2017 meeting of the Academic Senate, the proposal for a change in the prerequisites for COMM 143, Advanced Media 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-16/17-42CA.

Attachment

Cc: President James A. Donahue Dean Sheila Hassell Hughes

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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 prerequisites for Comm 143: Advanced Media Production removed.

These prerequisites are a fairly recent addition to our curriculum. They were 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 prerequisites have proven to be a hindrance to our students based on competing course offerings and scheduling conflicts. As currently structured, before students take Comm 143, they must complete Comm 132: Audio Production or Comm 133: Video Production, and before they take either of those courses they must take Comm 125: Media Technologies and Culture. Comm 125 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 132 and 133 on a timeline that facilitates timely completion of major graduation requirements, and thereby making it nearly impossible for them to progress to Comm 143 at all. Our department feels that maintaining Comm 125 as a prerequisite for Comm 132 and 133 is undermining our curricular stability and is not serving in the best interests of our students (requests to remove the prerequisite from these courses are being submitted under separate cover). The department also feels that it is not necessary to complete Comm 132 or 133 prior to accessing Comm 143, and that these prerequisites, too, undermine our curricular stability and do not serve the best interests of our students, and this is why we are proposing to eliminate Comm 132 and 133 as prerequisites for Comm 143.

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;

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Communication Department

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 prerequisites for Comm 143 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.

Comm 143: Advanced Media 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 143 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 advanced applications in media production, including topics such as web design, digital photography, motion graphics, video game design, animation, DVD authoring and advanced audio engineering.

In addition, while Comm 143 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 143 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 143 also clearly meets Criterion C listed above.

Finally, the course objectives for Comm 143 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 and our senior capstone, Comm 132, Comm 133, and Comm 143 are the only courses in our department that have required pre-requisites. (As noted previously, we are submitting similar requests for Comm 132 and Comm 133 under separate cover.) When we established the prerequisite course sequence, we conceived of Comm 125 as providing a foundation for Comm 132 and Comm 133, and we saw Comm 132 and Comm 133 as providing the

underpinnings of Comm 143. We conceived of these courses as a three-step sequence, but in practice the courses actually cover discrete and distinct topics in production, and mastery the content of one is not necessary to allow successful mastery of the others.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 versus the videogame industry).

In addition, in our Comm 143 course, we routinely provide a review for our students in the basics of media production (which includes video and audio as is necessary for the specific media form being taught that semester) 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, limits 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:

143 Advanced Media Production I [Application]

This course is a continuation of media skills and concepts developed in Communication 132 and Communication 133. These are upper-division media courses that delve into areas of specialization and advanced applications in media

production. Possible topics include web design, digital photography, motion graphics, video game design, animation, DVD

authoring and advanced audio engineering. Prerequisite: Communication 132 or Communication 133.

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

143 Advanced Media Production I [Application]

This is an upper-division course that delves into areas of specialization and advanced applications in media production.

Possible topics may include web design, digital photography, motion graphics, video game design, animation, DVD authoring

and advanced audio engineering.

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

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COMMUNICATION 143: ADVANCED MEDIA PRODUCTIONSaint Mary’s College of CaliforniaSpring 2016

Class Meetings: Garaventa 250 Professor:Office: Sichel 105AOffice Hours: 1:30pm-2:30pm Wednesday and by appointment Email:Phone: 415-609-2162 (text preferred)

COURSE DESCRIPTIONThis course is an advanced documentary and experimental production workshop bringing together theory, artistic analysis, and creative, hands-on, artistic practice. We will explore the fundamental aspects of documentary including research, ethics, shooting, audio, interviewing and editing. Students will produce experimental and documentary films in any mode of their choosing, including political, personal, experimental, diarist, historical, hybrid, ethnographic, etc.,.

COURSE OBJECTIVESStudents will develop advanced conceptual and technical skills in both artistic analysis and artistic practice by exploring documentary and experimental concepts, then shooting, recording, and editing creative projects. Students will extend their creative faculties and learn to take creative risks in documentary and experimental modes.

LEARNING OUTCOMESIn this class, students will

1. Examined the practical and theoretical tools to make – and will have made – videos that communicate clearly, effectively, and with technical competence pre-developed ideas.

2. Understand fundamentals of mise-en-scene, cinematography, three-point lighting, non- linear editing techniques and approaches to film editing (e.g., continuity and non- continuity), and basic stages of pre-production, production, and post-production.

3. Analyze and apply insights from (largely but not exclusively North American) experimental and documentary artistic traditions to multiple filmic texts.

4. Conduct a sustained analysis into an artists’ entire body of work that demonstrates understanding of critical film theory.

5. Create artistic documentary and experimental videos that exhibit advanced intellectual and technical accomplishment.

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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.

REQUIRED TEXTS

Documentary Filmmaking: A Contemporary Field Guide by John Hewitt and Gustavo Vazquez, Oxford University Press, 2010.

The Subject of Documentary by Michael Renov, University of Minnesota Press, 2004. (Hereafter referred to as TSD)

Visionary Film: The American Avant-Garde 1943-2000, edition 3, Oxford University Press, 2003. AVAILABLE ONLINE as ebook via SMC library (hereafter referred to as VF)

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.

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

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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

COURSE REQUIREMENTSIn addition to the assignments listed below, students will be expected to be present and prepared to participate in each class session. This means having completed all assigned readings and screenings in advance of our meetings. Also crucial to the smooth and successful functioning of our class will be active feedback in our workshop sessions. All students are expected to engage with and offer constructive feedback of the works-in-progress of other students.

PRODUCTION ASSIGNMENTS DESCRIPTION (ASSESMENT):

Project #1 and #1aThis video project, which has two distinct components, asks you to explore how a person or object inhabits or exists in space. You should create two different short videos out of the same set of footage (more or less, you do not have to use the exact same shots). One video should be a more “traditional” documentary, focusing on legibility and, perhaps, continuity. Note that the “more” in the previous sentence is in relation to your other video. That is, you do note have to make an expository work – you can still delve in poetic, performative, reflexive, etc., modes. Your second video should more experimental is nature, seeking to explore the psychology or phenomenology and of the subject/object in space (and/or the audience as they interact with your work). Both of these projects should be between 1-5 minutes in length (shorter is better).

Midterm ProjectThis project is simply the work-in-progress version of the final project. Specific requirements for how much you need to submit will be given as we approach the midterm of the semester

Final ProjectYour final project is the centerpiece of your efforts for this class. You are to construct a 5-10 minute documentary and/or experimental film. The subject matter is up to you (though it must

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be approved by the professor). We will begin work on this project quite early in the semester and usher it through an extensive pre-production process. The pre-production process, including support materials (to be discussed and tailored toward specific projects) is a crucial component and will be factored into the overall assessment of your project (see spate project sheet for specific breakdown).

Filmmaker AnalysisIn this project you should provide a detailed analysis of the work of a chosen filmmaker. In an essay of 3-4 pages or a small website/blog/visual presentation, explore the themes and aesthetics of one filmmaker. You should analyze at least three different films and situate the works within the larger discourse of documentary/experimental film.

In addition to these major assessment projects, you will be expected to contribute regularly to online discussion forums. Individual assignment sheets will be given for each project.

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

GRADING POLICYAttendance and Participation 15%Project #1 15%Project #1a 15%Midterm Project (includes support material) 15% Filmmaker Analysis 15%Final Project (includes support material) 25%

Total 100%

COURSE SCHEDULE(subject to change with notice)

WEEK 1 – February 8MondayIntroduction to CourseView: Tongues Untied (1989, d. M. Riggs), Rivers and Tides (2001, d. T. Riedelhesheimer)

WednesdayRead: VF, chapters 1 and 2View: The Meshes of the Afternoon (1943) and At Land (1944) (d. M. Deren and A. Hammid) andUn Chien Andalou (1929, d. L. Bunuel and S. Dali)

WEEK 2 – February 15Monday

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View: When the Levees Broke (2006, d. S. Lee)

WednesdayRead: TSD, Chapter 2; DF Chapter 8 View: Medium Cool (1969, d. Wexler)

Read: TSD, Preface and Chapter 3; DF, Chapters 1 and 2 View: History and Memory (1991, d. Rea Tajiri)

WEEK 3 – February 22MondayRead: VF, Chapter 11; DF Chapter 5 and 6View: Empire (1964, d. Warhol) and Wavelength (1967, d. M. Snow)

WednesdayRead: DF, Chapter 7Screen student rough cuts of project #1

WEEK 4 – February 29

WednesdayScreen student final cuts of Project #1

WEEK 5 – March 7MondayRead: TSD, Chapters 6View: First Person Plural (2000, d. Deann Borshay Liem)

WednesdayRead: VF, Chapter 4; DF Chapters 9 and 10View: Fireworks (1947) and Scorpio Rising (1964) (d. K. Anger),

WEEK 6 – March 14

MondayRead: TSD, Chapter 11View: Observational Cinema examples and Jean Rouch clipsDocumentary Proposals due

Wednesday No reading

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WEEK 7 – March 21

EASTER RECESS – NO CLASS

WEEK 8 – March 28

Monday No class

WednesdayView footage and/or rough cuts of student work

WEEK 9 – April 4

MondayRead: TSD, Chapter 12; DF Chapters 12 and 13 View: News From Home (1977, d. C. Akerman)

WednesdayView: Midterm Project (student works in progress)

WEEK 10 – April 11MondayRead: TSD, Chapters 13View: The Thin Blue Line (1988, d. E. Morris)

WednesdayView: Sink or Swim (1990, d. S. Friedrich)

WEEK 10 – April 18MondayScreen scene from student projects Edit Project

Wednesday

WEEK 11 – April 25MondayView: Student Clips

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WednesdayView: Student Clips

WEEK 12 – May 2MondayView: Assembly, Final Projects

WednesdayView: Assembly, Final Projects

WEEK 13 – May 9MondayView: Rough Cuts, Final Projects

WednesdayView: Rough Cuts, Final Projects

WEEK 14 – May 16MondayView: Fine Cuts, Final Projects

WednesdayView: Fine Cuts, Final Projects

FILM FINALS.

Friday, Feb 17, 3:33 PM

Re: Changes to Course Pre-Requisites

by Sheila Hughes | smh21@stmarys-ca.edu

Hi Dan,

These proposals seem very reasonable to me and I am happy to endorse the removal of the Comm 125 course as a pre- requisite 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!