Beruflich Dokumente
Kultur Dokumente
CULTURAL
PERSPECTIVES
TEACHERS GUIDE
DR JODIE TAYLOR
CIU 211 NMC
j.taylor@sae.edu
TABLE OF CONTENTS
MODULE OVERVIEW
Teaching Team
Aims
Learning Outcomes
For Faculty Developing & Delivering Content
WHAT IS THE DIFFERENCE BETWEEN THE NATIONAL MODULE COORDINATOR (NMC) AND THE LOCAL MODULE COORDINATOR (LMC)?
WHAT THINGS DO I NEED TO ACCOUNT FOR WHEN DEVELOPING CONTENT FOR ONLINE?
WHAT TECHNIQUES CAN I USE IN CLASS TIME TO GET STUDENTS TO ENGAGE WITH THE CONTENT?
WHAT FOLLOW-UP TASKS SHOULD I SET STUDENTS FOR THEIR OUT OF CLASS TIME?
ASSESSMENT OVERVIEW
211.1 Dialectical inquiry
211.1 Dialectic inquiry rubric
211.2 Interdisciplinary creative project
211.2 Interdisciplinary creative project rubric
211.3 Critical evaluation and self-reflection on the creative project
211.3 Critical evaluation and self-reflection of the creative project rubric
Marking with Rubrics
Moderation
Assessment practices
Assisting students with special needs
PURPOSE OF ALTERNATIVE ASSESSMENT OPTIONS
ASSISTING STUDENTS WITH DYSLEXIA
ASSISTING STUDENTS WITH AUTISM SPECTRUM DISORDER (ASD) AND SOCIAL ANXIETY
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APPENDIX
Storify Lecture Embed Codes for weeks 1-12
Creative Summary Task Embed Codes
Direct links to content for embedding into campus online
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MODULE OVERVIEW
Teaching Team
Byron
Sydney
Melbourne
Perth
Perth
Dr Gert Gast
g.gast@sae.edu
Mr Adam Ho
a.ho@sae.edu
Dr Ian Dixon
i.dixon@sae.edu
Mr Brett Cullen b.cullen@sae.edu
Ms Edna Zhang e.zhang@sae.edu
Aims
Media and culture are not simply entertainment, but something that affects the real world, our
everyday lives and our worldviews. As such, we will not ask whether media accurately reflect the real
world but instead ask how media shape, reinforce, and challenge the current power structures that
govern our lives, opinions and futures.
This unit takes a critical theory approach to analysing media and culture. In this unit students will
explore critical cultural theories, popular cultural aesthetics, modalities of consumption, cultural
institutions and systems of classification that inform creative media practices. Drawing on a range of
creative media texts and analytical frameworks, the unit encourages students to develop ways of
thinking about media and culture that demonstrate a broad awareness of aesthetic principles and
stylistic trends; subjectivity, agency, ethics and relations of power; contexts, disciplines and discursive
formations.
In support of this exploration, students will produce a range of media artifacts that explore and
contextualise the relationship of media to culture through individual analysis, collaborative and
interdisciplinary creative practice and critical reflection.
Learning Outcomes
L1
L2
L3
L4
L5
L6
Apply critical theory to analyse cultural systems in the context of creative media production
Define the relationships and roles through which creative practitioners interact with culture
Produce creative work that explores the discourse between media production and cultural
systems
Describe how a range of disciplinary understandings of culture can enhance creative practices
Describe how a range of discursive systems, social movements and political actions shape
contemporary creative practice
Critically reflect and evaluate the successes and challenges arising from interdisciplinary
collaboration
What things do I need to account for when developing content for online?
Before students can reasonably be expected to undertake effective critical thinking tasks in the
classroom, you need to ensure that your lesson plan gives the following information to tackle these
ideas.
Background Knowledge information about the topic that is required for thoughtful reflection
Critical Concepts or Vocabulary concepts that facilitate thinking and judgment in particular
areas. Some common concepts are cause and effect; premise and conclusion; inference and
assumption; necessary and sufficient condition; bias; point of view.
Criteria for Judgment knowledge of the principles that govern quality thinking and
judgment. These include argumentation and logic; criteria for practical deliberation; criteria
governing inquiry and justification e.g. accuracy, coherence, clarity, feasibility, fairness,
plausibility, originality.
Strategies organising devices that may be useful for guiding performance in certain tasks.
Habits of mind attitudes or values important for thinking. Includes open-mindedness,
independent open-mindedness, inquiring and critical attitude, respect for high quality
performances and intellectual work ethic.
What Techniques can I use in class time to get students to engage with the content?
Use the class time as an opportunity to develop critical thinking skills. Use questioning techniques,
differentiation & grouping strategies as defined in the SAE Academic Services Wiki for more
information.
What follow-up tasks should I set students for their out of class time?
The NMC will help guide these activities, however it is good practice to pose a set of questions
which students should respond to in a low stakes writing task that you assign. Use the Foundational
Teaching Techniques & Strategies the SAE Academic Services Wiki for more information.
modules and will have 2 additional hours allocated for these tasks. The faculty delivering the
modules will be given 2 hours of face to face, plus associated working time.
How does the introduction of National Module Coordinators change demarcation of faculty roles?
Faculty will still be expected to develop and prepare for their classes, however this will be guided by
the NMC and what they decided are immediate development goals. Tutors will still be expected to
mark assessments and provide pastoral care as per normal.
How do local campus lecturing staff raise concerns and curriculum design issues
Through your local campus Coordinator who needs to place these issues on the staff feedback
forms available via the SAE Australia Program & Module Codes Directory.
General Topics
Postmodernism (aesthetics)
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ASSESSMENT OVERVIEW
211.1 Dialectical inquiry
ASSESSMENT 1
Assignment Name Dialectical Inquiry
Due
Weighting
30%
Submission
Format
A 10 min oral presentation OR infographic OR digital poster OR video blog OR podcast. This must
be shared online AND either the media files or a URL indicating the location of your media must
be submitted via campus online.
Over the course of 10 weeks, each student is required to complete one dialectical inquiry task.
This will be presented/displayed and then discussed in the dialogue forum by their tutors and
peers.
Brief
Each dialectical inquiry is expected to engage critically with one of the weekly content topics
within the course. Students are expected to form a compelling argument and take a critical
position on a particular content topic. Students are free to decide how they wish to position their
argument; however substantial research and appropriate referencing must always support this.
Students have the option to nominate for a particular topic in weeks 1 and 2. However, any
student who has not done so by then will be assigned a topic. Submissions/presentations will run
in tutorial times from weeks 3-12.
The delivery format will be varied based on the types of content students nominate to respond
to, however the delivery format should always seek to be engaging and will be
distributed/viewed/discussed with peers and the tutor in their nominated tutorial group.
Requirements
Whether you choose to deliver your dialectical inquiry as verbal presentation, infographic, digital
poster, video blog, or podcast, it is a requirement that these are published online prior to class
for easy sharing in tutorial times allocated to the dialogue forum.
Additionally, students are also expected to actively participate in the weekly dialogue forums by
way of sharing their critical perspectives and providing peer-to-peer feedback each week.
Assessment 1 Criteria
Weighting
Criteria
30%
Presentation skills:
-Quality of delivery as relevant to chosen mode of presentation.
-Appropriate online platform chosen for content sharing
30%
Research:
-Quality of sources (relevance, authority, variety)
-Depth and sophistication of engagement
-Analysis vs. description
40%
Discussion:
-Rigorous discussion or presentation of evidence or observations
-logical conclusions, or clarity of insight
-Contextualisation of topic
PRESENTATION SKILLS
-Digital literacy
- Appropriate online
platform chosen for
content sharing. (30/2)
RESEARCH
-Quality of sources
(relevance, authority,
variety). (30/2)
RESEARCH
-Depth and
sophistication of
engagement
-Analysis vs.
description. (30/2)
DISCUSSION
-Rigorous discussion or
presentation of
evidence or
observations. (40/2)
DISCUSSION
-logical conclusions, or
clarity of insight
-Contextualisation of
topic. (40/2)
HD
Has excellent clarity
and presentation.
Able to
communicate and
deeply extend ideas
effectively. Able to
effectively engage
with an audience
and respond to
questions or
comments to
support
presentation. Uses
well sourced or
created supporting
materials
appropriately.
Demonstrates
excellent digital
literacy and
engagement with
an appropriate
online platform
chosen for content
sharing.
Uses a wide variety
of authoritative
sources appropriate
for the task.
DD
Has very good clarity
and presentation.
Able to communicate
and extend ideas
effectively. Able to
effectively engage
with an audience and
respond to questions
or comments. Uses
well sourced
supporting materials
appropriately.
CR
Has good clarity and
presentation. Able to
communicate ideas
effectively. Able to
engage with an
audience and respond
to questions or
comments. Uses well
sourced supporting
materials
appropriately.
PP
Has clarity and
presentation.
Able to
communicate and
extend ideas
effectively. Able
to effectively
engage with an
audience and
respond to
questions or
comments. Uses
well sourced
supporting
materials
FF
Does not have
adequate clarity
and presentation,
difficult to
understand.
Not able to
effectively
communicate
ideas. Little to no
engagement with
audience. No use
of supporting
materials.
Demonstrates good
digital literacy and
engagement with an
appropriate online
platform chosen for
content sharing.
Demonstrates digital
literacy by choosing
and appropriate
online platform for
content sharing.
Demonstrates
digital literacy by
sharing content
via an online
platform.
Fails to
demonstrate
digital literacy.
Does not share
content online.
Uses authoritative
sources appropriate
for the task.
Adequately uses
sources appropriate
for the task.
Uses an adequate
amount of
sources
appropriate for
the task.
Demonstrates
extensive research
exploring new
concepts that are
most likely new to
the student and
their peers.
Balances and
greatly extends key
points and detail.
Demonstrates a high
engagement with
research exploring
new concepts that
are most likely new to
the student and their
peers. Balances and
extends key
points and detail
effectively.
Demonstrates
engagement with
research exploring
new concepts that
are most likely new to
the student and their
peers. Balances key
points and detail
effectively.
Rigorous and
effective discussion
and/or presentation
of content.
Consistently accurate
evidence gathering or
observations.
Effective discussion
and/or presentation
of content.
Consistently accurate
evidence gathering or
observations.
Consistently forms
logical conclusions,
has clarity or insight
into topic.
Forms logical
conclusions, has
some clarity or insight
into topic.
Demonstrates
some
engagement with
research
exploring new
concepts that are
most likely new to
the student and
their peers.
Balances key
points and detail.
Satisfactory
discussion and/or
presentation of
content.
Generally
accurate evidence
gathering or
observations.
Sometimes forms
logical
conclusions, has
some clarity or
insight into topic.
Demonstrates an
unsatisfactory
engagement with
research. Has
little to no depth
or sophistication
to engagement of
topic. Does not
balance key
points and detail
effectively.
Unsatisfactory
discussion and/or
presentation of
content. Lacked
accurate
evidence
gathering or
observations.
Forms
conclusions, has
little to no clarity
or insight into
topic.
Weighting
40%
Submission
Format
Audio, visual and/or textual materials to be published in a live online environment. A link to the live
project and accompanying project description must be submitted via campus online.
Combining your creativity and the critical cultural insights that we cover in CIU211, you are to
conceptualise an interdisciplinary mixed-media project that demonstrates the creative application of
your critical thinking and analytical skills and deliver this project via a live online platform.
Brief
An example of what constitutes an interdisciplinary mixed-media project might include a video essay,
an e-publication, an educational animation, a digital story, a culture jam or remix project, a transmedia
project, a web application or a game among others.
The project must explicitly engage with cultural criticism, theories and/or aesthetics covered in class.
A range of examples as well as locations for online publication and 'how to' resources that will help
you decide where to publish your project will be discussed in class.
Either individually or in student groups of up to 3, you will propose a collaborative mixed-media
project that you will need to publish in a live online environment. Your project brief should be
submitted via campus online in the format of a one-page word document, which provides a brief
description of the project, a bio line for each group member and a brief statement about their
contribution to the project, and a link to the location of the project online.
Requirements
Students are to use the learning contract as designed for the studio units to specify key deliverables.
Although students may choose to work collectively towards a key deliverable, each learning contract
must be comprised of individual milestones, which demonstrate a students ability to complete the
project.
Project proposals and learning contracts must be submitted via campus online in week 6.
Projects must be submitted as per above instructions by Friday of week 12.
Assessment 2 Criteria
Weighting
Criteria
30%
40%
30%
Project execution:
-Understanding and planning of project design
-Demonstrates understanding of engaging target audience
-Timely and professional delivery of project
-Choice of appropriate online platform and quality of online project description
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PLANNING AND
DESIGN
-Quality of
written proposal
submission.
(30/2)
CREATIVE MEDIA
PROJECT
-Demonstration
of aesthetic
confluence
between
artistic/textual
elements.
-Clarity of insight
displayed.
(40/2)
HD
DD
CR
PP
FF
Individuals develop a
reasonable and
complete timeline
describing when all
key elements of the
work (e.g., planning,
research, testing, first
draft, final draft) will
be completed and
combined.
Milestones are
ambitious but
realistic and the
proposed timeline for
completion
demonstrates
excellent project
management skills a
very high level of
strategic planning.
The quality of written
proposal submission
is excellent. The
document is free of
errors in spelling,
grammar,
punctuation,
sentence and
paragraph structure
etc. The tone and
language is
appropriate to the
task and shows
familiarity with
concepts and
terminology learnt in
class. Document
formatting conforms
to SAE style
guidelines and all
sources are
referenced in APA
format.
Individuals develop a
complete timeline
describing when all
key elements of the
work (e.g., planning,
research, testing, first
draft, final draft) will
be completed and
combined.
Milestones are
realistic and the
proposed timeline for
completion
demonstrates very
good project
management skills
shows a good level of
strategic planning.
Individuals develop a
semi-complete
timeline describing
when different parts
of the work (e.g.,
planning, research,
testing, first draft,
final draft) will be
done. Milestones are
realistic for the most
part, and the
proposed timeline for
completion
demonstrates good
project management
skills and an attempt
at strategic planning.
Individuals develop
an incomplete
timeline. Milestones
are unrealistic. The
proposed timeline
for completion
indicates
unsatisfactory
engagement with
planning and project
management.
Individuals develop
an incomplete
timeline describing
when different
parts of the work
(e.g., planning,
research, testing,
first draft, final
draft) will be done.
Milestones are
indicated but
important
considerations are
missing. The
proposed timeline
for completion
demonstrates a
basic understanding
of project
management.
The quality of
written proposal
submission is
satisfactory. The
document contains
errors in spelling,
grammar,
punctuation,
sentence and
paragraph structure
etc. The tone and
language is
acceptable. There is
evidence of
familiarity with
concepts and
terminology learnt
in class, but
understanding is
unclear. Document
formatting is
inconsistent and
only some sources
are referenced.
Makes satisfactory
use of artistic and
textual elements.
Aesthetic choices
attempt to enhance
the effectiveness of
the creative project.
Composition and
organisation of
creative elements
display minimal
insight and artistic
consideration..
The quality of
written proposal
submission is
unsatisfactory. The
document contains
major errors in
spelling, grammar,
punctuation,
sentence and
paragraph structure
etc. The tone and
language is poor.
There is little to no
evidence of
familiarity with
concepts and
terminology learnt
in class. Document
formatting is
inconsistent and
sources are poorly
referenced.
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CREATIVE MEDIA
PROJECT
-Quality of
media content
and sources.
-Depth and
sophistication of
engagement
with critical
concepts. (40/2)
PROJECT
EXECUTION
-Understanding
and planning of
project design
-Aesthetic
confluence.
(30/2)
PROJECT
EXECUTION
-Timely and
professional
delivery of
project
-Quality of
project
submission.
(30/2)
The project is
creative and most
aspects are well
thought-through. The
project exhibits a
degree of
engagement with
critical concepts
taught in this module.
Source information
collected for all
elements of the
project are
documented/credited
appropriately.
The project is
creative and most
aspects are
thought-through.
The project
attempts some
engagement with
critical concepts
taught in this
module. Source
information has
been collected for
elements of the
project but this
lacks appropriate
citation and clarity.
The project is
clichd, rushed or
partial and poorly
thought-through.
The project does
not attempt to
engage with critical
concepts taught in
this module. Source
information has not
been collected
and/or is incorrectly
documented.
The project
demonstrates
awareness of
intended audience in
the design and is
executed accordingly.
It has an established
focus maintaining a
consistent
perspective and
stylistic approach
throughout. The
product is very
engaging and
successful in its
purpose.
The project
demonstrates some
awareness of
intended audience in
the design and is
executed accordingly
with some success. It
has an established
focus and for the
most part, maintains
consistency in terms
of perspective and
style. The product is
engaging and
successful in its
purpose.
The project
demonstrates some
awareness of
intended audience
in the design and is
executed
accordingly. It has
an established focus
and for the most
part, maintains
consistency in terms
of perspective and
style. The product is
somewhat engaging
and successful in its
purpose..
The intended
audience for the
project is unclear.
Perspective and
style are
inconsistent and
lack confluence or
cohesion. The
product fails to be
engaging and is
unsuccessful in its
purpose.
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ASSESSMENT 3
Assignment Name Critical evaluation and self-reflection on the creative project
Due
Week 13
Weighting
30%
Brief
The reflective practitioner is one who uses the tool of reflection to revisit an experience to learn from
it with the aim of improving future practical outcomes. Both problems and successes in professional
practice must be framed and evaluated. It is expected that the students will frame this presentation
in terms that are particularly relevant to what they have learnt in CIU and how they have combined
these learnings with their skills as creative media artists. This will be carried out in conjunction with a
peer assessment of students' work by other students in the module. Peer assessment is intended to
extend and enrich their formal self-assessment and refine their critical literacy skills.
Reflection on personal learning, project successes and limitations, technical challenges, creative
aspirations and limitations, interpersonal communication and, where relevant, collaborative work
processes and strategies for improvement, should be discussed in the self-reflection document.
Requirements
In allocated class time in week 13, students are to present their creative projects to their tutor and
peers, respond to questions from their tutors and peers about their projects, critically engage with
the work of their peers offering thoughtful feedback. In addition to the presentation, students must
also reflect on their holistic learning experience in the form of a written self-reflection.
Assessment 3 Criteria
Weighting
30%
20%
30%
20%
Criteria
In class presentation of project and peer discussion:
-Demonstrate understanding of relevant concepts learnt in CIU and the relationship between /
application of these concepts to the creative process and project outcomes
- Demonstrate the capacity to offer constructive feedback to their peers in a professional manner
- Demonstrate maturity in responding to feedback from their peers and tutor
Presentation Skills:
-Voice tone & volume
-Poise, confidence and flow of speech
-Professional, sophisticated language
-Personal presentation
-Timing and pace of presentation
-Audience engagement
-Use of presentation aids (slides, other media, props, etc.)
Self-reflection document:
Submitted as a word document to the tutor at the time of the project presentation AND submitted in
full via campus online by the end of week 13.
- Summarise and demonstrate personal learning
- Identify project components and challenges
- Identify elements of the project that went well and the reasons for this.
- Analyse causes of problems
- Evaluate problem solving processes
- Propose future processes and methods
Documentation
-Spelling, grammar, punctuation, sentence and paragraph structure.
-Tone and language
-Document formatting to SAE style guidelines
-APA Reference Style & formatting
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PRESENTATION
-Critical
discussion and
feedback. (30/2)
PRESENTATION
-Evidence of
learning and
creative
synthesis of
concepts. (30/2)
PRESENTATION
-Communication
skills. (20)
DOCUMENTED
CRITICAL
REFLECTION
-Identify project
components and
challenges.
Analyse causes
of problems.
(30/2)
HD
DD
CR
PP
FF
An outstanding
presentation of the
final creative project
engaging, succinct
and professional.
Demonstrates
excellent maturity
and insight when
responding to
feedback from their
peers and tutor.
Demonstrates
excellent engagement
with peers and
provided thoughtful
feedback.
Demonstrates
excellent
understanding of
relevant concepts
learnt in CIU and the
relationship
between/application
of these concepts to
the creative process
and project
outcomes.
Has excellent volume,
tone, clarity and
presentation. Able to
communicate and
deeply extend ideas
effectively. Able to
effectively engage
with an audience and
respond to questions
or comments to
support presentation.
Uses well sourced or
created supporting
materials
appropriately.
Demonstrates a
thoughtful and
detailed
understanding of the
processes
undertaken. Probable
causes of problems
are identified and
discussed beyond the
current project.
A very good
presentation of the
final creative
projectengaging,
succinct and
professional.
Demonstrates a high
level of maturity and
insight when
responding to
feedback from their
peers and tutor.
Demonstrates
engagement with
peers and provided
good feedback.
Demonstrates a very
good understanding
of relevant concepts
learnt in CIU and the
relationship
between/application
of these concepts to
the creative process
and project
outcomes.
An effective
presentation of the
final creative
project.
Demonstrates
maturity and insight
when responding to
feedback from their
peers and tutor.
Demonstrates
engagement with
peers and provided
feedback.
An adequate
presentation of the
final creative project.
Demonstrates some
maturity and insight
when responding to
feedback from their
peers and tutor.
Demonstrates some
engagement with
peers.
An unsatisfactory
presentation of the
final creative
project.
Demonstrates
unsatisfactory
insight when
responding to
feedback from their
peers and tutor.
Demonstrates
unsatisfactory
engagement with
peers and provided
no feedback.
Demonstrates a
good understanding
of relevant concepts
learnt in CIU and the
relationship
between/application
of these concepts to
the creative process
and project
outcomes.
Fails to demonstrate
understanding of
relevant concepts
learnt in CIU and the
relationship
between/application
of these concepts to
the creative process
and project
outcomes.
Demonstrates a
satisfactory
understanding of
relevant concepts
learnt in CIU and the
relationship
between/application
of these concepts to
the creative process
and project
outcomes.
Has adequate
volume, tone, clarity
and presentation.
Able to communicate
ideas. Able to engage
with an audience.
Uses supporting
materials
appropriately.
Demonstrates some
understanding of the
processes
undertaken. Some
possible causes of
problems are
proposed. Elements
which went well have
been identified,
however the reasons
for their success have
not been fully
explained /
understood.
Demonstrates a
partial
understanding of
the processes
undertaken with
significant
omissions. Possible
causes of problems
are proposed with
significant
omissions.
Demonstrates a
general
understanding of
the processes
undertaken.
Possible causes of
problems are
proposed. Elements
which went well
have been identified
and there is some
discussion which
demonstrates that
the student is able
to connect these to
future outcomes.
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DOCUMENTED
CRITICAL
REFLECTION
-Evaluate
problem solving
processes. (30/2)
DOCUMENTED
CRITICAL
REFLECTION
Language,
formatting,
fluency, style.
Spelling,
grammar,
punctuation,
sentence and
paragraph
structure. (20)
Reflection on the
learning process is
demonstrated.
Critical insight is
provided into
challenges and
successes across the
entire project, and
means for
improvement are
proposed and
evaluated against
external references.
Consistent and
authoritative
academic
language/tone:
thoughtful and
engaging. Argument
is carried through text
with good transitions
from point to point.
Conclusion
summarises and
reiterates major
points. Spelling,
sentence structure
and grammar
excellent; correct use
of punctuation and
citation style;
Conforms in every
way to format
requirements
Some clear
reflection on the
learning process is
demonstrated. Clear
insight is provided
into challenges and
successes across the
entire project, and
means for
improvement are
proposed and
evaluated.
Reflection on the
learning process is
demonstrated.
Insight is provided
into challenges and
successes across
several aspects of
the project, and
means for
improvement are
proposed.
Reflection on the
learning process is
poorly
demonstrated.
Insufficient insight is
provided into
challenges and
successes, or means
for improvement are
poorly proposed.
Consistent academic
language/tone,
engaging writing.
Conclusion
effectively reiterates
major points. Clear
transitions from
point to point.
Sentence structure,
grammar are very
good; mostly correct
use of punctuation,
grammar and
citation style;
Conforms to format
requirements.
Mostly consistent
academic
language/tone with
some lapses. Clear
introduction and
conclusion.
Generally clear
though may wander
occasionally. May
have some unclear
transitions,
Sentence structure,
spelling, grammar,
and tone good with
occasional lapses;
Citation style often
used correctly.
Generally conforms
to format
requirements.
An attempt at formal
writing exists, but is
of poor standard.
Weak or misleading
introduction. Body of
argument mostly
relevant, but may
not progress fluidly.
Few or weak
transitions.
Conclusion may not
provide a satisfactory
closure. Problems in
sentence structure,
grammar, spelling,
and/or tone (usually
not major). Some
errors in
punctuation, citation
style, and spelling.
Some format
requirements met.
Casual language or
slang prevalent.
Weak introduction,
body does not
follow clear
structure.
Conclusions are not
supported.
Transitions
confusing and
unclear. Major,
consistent problems
in sentence
structure,
punctuation,
spelling, grammar,
and/ or tone.
Frequent errors in
citation style. Does
not conform to
format
requirements.
Moderation
Cross-Campus Moderation occurs each trimester and should be completed by week 14. Local Module
Coordinators are to provide the national team with one example of each grade (F, P, C, D, HD) for each
assessment item.
A document containing the details of the uploaded files (i.e. file name, corresponding mark allocated
and feedback) should accompany these uploads. Teaching staff members from each campus are asked
to place samples of student work for each assessment item into the designated folders under
Curriculum Resources on the Google Drive.
https://drive.google.com/open?id=0B6IcDCGbIxkCT0hZMFIySnBMajQ&authuser=1
15
The NMC will allocate a second marker for set examples. You will be notified of the assessments you will
be cross-marking via email.
The second marker will then upload a word document containing their assessment of the marked
samples as percentages (Not Letters), plus feedback and the student name/file name into the allocated
Moderation folder.
In 15T2 we will commence longitudinal moderation. Nomination of exemplars for inclusion will occur at
the end of the trimester as above, and results to be uploaded to Curriculum Resources. More
information about longitudinal moderation will be provided closer to its implementation.
Assessment practices
It should be noted that students in todays society are easily engaged when they are tasked with
creating social-interactive content. For them, creating such artifacts is not a separate exercise, but
simply an extension of what they do already. Assessment tasks requiring the use of technology help
students demonstrate higher levels of thinking which can inspire them to present complex, contextual
knowledge and engage more actively in the learning process (Mills, 2013). For these reasons, I suggest
that we encourage a multimodal approach not only to content curation but also with regards to the
execution and delivery assessment tasks. While also encouraging them to both critically reflect on
established media content, practices and theories and interrogate their position as consumers and
producers of media.
For example, a student may choose to deliver their dialectical inquiry as verbal presentation however
the option to deliver this assessment item as an infographic, digital poster, video blog, or podcast allows
the student to choose the method that best suits their communication style. Furthermore, is a
requirement that these are published online prior to class for easy sharing in tutorial times allocated to
the 'dialogue forum'. Where possible all digital content created by students should be posted to a live
external site and linked back to their campus online submissions.
Teachers should pay particular attention to instructing the students on best media publishing and
sharing practices with the aim of building these vital social and creative media literacies into the
everyday learning and teaching practices.
Assisting students with autism spectrum disorder (ASD) and social anxiety
If students are having difficulties planning their assessment tasks, you might like to draw their attention
to the following resources while also encouraging the student to think about how their learning style
and/or any specific disorder could be utilised to their advantage given the range of assessment
possibilities.
Martin, R. (2011). Top Tips for Asperger Students: How to Get the Most Out of University and College. Jessica
Kingsley Publishers.
Jamieson. J, & Jamieson, C. (2014). Managing Asperger Syndrome at College and University: A Resource for
Students, Tutors and Support Services. Routledge
The following resources offer compelling arguments that support the academic validity of assessing
critical engagement and rhetorical perspectives via non-traditional means for all students.
Bean, John. (2011). Engaging Ideas: The Professors Guide to Integrating Writing, Critical Thinking, and Active
Learning in the Classroom. 2nd ed. The Jossey-Bass Higher and Adult Education Series. San Francisco: JosseyBass.
Birdsell, D., & Groarke, L (2003). Outlines of a Theory of Visual Argument. Argumentation & Advocacy 43: 103
113.
Hinck, A. 2013. Framing the video essay as argument. Cinema Journal Teaching Dossier, 1(2). Retrieved
http://www.teachingmedia.org/framing-the-video-essay-as-argument/comment-page-1/#comment-423
Kuhn, Virginia. (2012). The Rhetoric of Remix. Transformative Works and Cultures, 9.
http://journal.transformativeworks.org/index.php/twc/article/view/358/279.
Kress, Gunther. (2005). Gains and Losses: New Forms of Texts, Knowledge, and Learning. Computers and
Composition, 22(1), 522. doi:10.1016/j.compcom.2004.12.004
Mills, M. (2013). Facilitating Multimodal Literacy Instruction through Digital Curation. In S. Huffman, J.
Whittingham, C. Wiedmaier, & W. Rickman (Eds.), Technological Tools for the Literacy Classroom. IGI Global.
17
If you are unsure of how to go about writing the task instructions or need ideas for tasks, please visit
these Pinterest boards for ideas.
18
The flipped classroom get the most out of your learning experience
The flipped classroom is informed by constructivist pedagogy and represents a shift
from passive to active learning to focus on higher order thinking skills such as analysis, synthesis and
evaluation (See Blooms Taxonomy of learning objectives).
As Sankey and Hunt (2013) assert, ' the important feature of flipped classrooms is not that they are
new, or that they represent a move away from traditional lectures, or even that they use
technologies. Rather, the issue is that flipped classroom approaches combine pedagogy and learning
technologies in ways that extend to large numbers of students opportunities for deep learning
through application and consolidation' (p.786).
In the flipped classroom, the roles and expectations of students and teachers change where:
students take more responsibility for their own learning and study core content either individually
or in groups before class and then apply knowledge and skills to a range of activities using higher
order thinking,
teaching 'one-to-many' focuses more on facilitation and moderation than lecturing, though
lecturing is still important. Significant learning opportunities can be gained through facilitating
active learning, engaging students, guiding learning, correcting misunderstandings and providing
timely feedback using a variety of pedagogical strategies,
there is a greater focus on concept exploration, meaning making and demonstration or
application of knowledge in the face-to-face setting (see Diagram below).
The University of Queensland. (2015). What is flipped classroom.
Retrieved 8 February 2015, from http://www.uq.edu.au/tediteach/flipped-classroom/what-is-fc.html
Dialectic inquiry
Creative project
Critical self-reflection
Lecture Topics
Suggested theoretical framing and discussion points.
Week
Topic
Theory
Discussion
Postmodernism
Overview of modernism and postmodernism
Evidence of this in creative media style and technologies
Topic
Theory
Discussion
Poststructuralism
Overview of structuralism, post-structuralism
The death of the author, deconstruction of meaning
Topic
Theory
Discussion
Topic
Theory
Discussion
Topic
Theory
Discussion
Topic
Theory
Discussion
Topic
Theory
Discussion
Raunch Culture
Sexualisation, objectification and agency.
Advertising, pornography, censorship.
Topic
Theory
Discussion
10
Topic
Theory
Discussion
11
Topic
Theory
Discussion
Mediated Violence
Media effects theory and the aesthetics of violence
Cultural effect of violent films, games, music etc.
12
Topic
Theory
Discussion
Affluenza
Material cultural theory, Marxism and social class
Labour, ethics, freedom paradox, choice, commodity fetishism
20
Write questions for things you may not understand or want to explore in tutorial. You should bring
these notes and questions to the next tutorial.
These will be used to help guide the discussions in class and in turn, improve your own understanding
and professional practice.
How do I collaborate with my peers & tutor?
There are many ways to communicate online. The mechanism for this will be indicated in Campus Online
for your module. Note that interaction with your peers and tutors will be a necessary part of the
module.
How to post ideas/responses online using Moodle
Ensure that you are using the communication mechanism provided to you via Campus Online. The
student forum is the ideal place to start a discussion about a weekly reading, ask teachers or peers a
question about the online content, and share your completed creative summary tasks prior to class.
23
PRESCRIBED READINGS
Edgar, A., & Sedgwick, P. (2007). Postmodernism and Poststructuralism. In Cultural Theory: The
Key Concepts (pp. 256-266). London: Routledge.
Bennett, A. (2005). The mass culture debate. In Culture and Everyday Life (pp. 11-31). Sage.
Gelder, K. (2005). The field of subcultural studies. In K. Gelder (Ed.), The Subcultural Studies
Reader (pp. 1-15). London: Routledge.
OR
Gelder, K. (2007). Subcultures (pp. 83-106). Routledge.
6*
Taylor, J. (2012). Queer: Identities, theories and politics. In Playing it Queer: Popular Music,
Identity and Queer World-making (pp. 13-41). New York: Peter Lang Press.
8*
Attwood, F. (2009). The sexualisation of culture. In F. Attwood (Ed.), Mainstreaming Sex: The
Sexualization of Western Culture (pp. xiii-xxiv). London: I.B. Tauris.
Hall, S. (1997). Spectacle of the Other. In S. Hall (Ed.), Representation: Cultural Representations
and Signifying Practices (pp. 223-276).
OR
hooks, b. (2009). Eating the Other: Desire and resistance. In M.G. Durham & D.M. Kellner (Eds.),
Media and Cultural Studies (pp. 366-380). London: John Wiley & Sons.
10
11
Vine, I. (2005). The dangerous psycho-logic of media effects. In M. Barker & J. Petley (Eds.), Ill
Effects: The Media Violence Debate (pp. 106-122). New York: Routledge.
12
Matrix, S. E. (2013). Cyber commerce and computerized subjectivity. In Digital Lifestyles and
Commodity Culture (pp. 25-60). New York: Routledge.
Recommended Texts
The items on the lists of recommended texts have been selected as examples of general purpose media
and cultural studies texts that may be used to supplement student learning.
O'Shaughnessy, M. & Stadler, J. (2008). Media and Society (4th Ed). South Melbourne, Australia: Oxford
University Press.
Durham, M. G., & Kellner, D. M. (2009). Media and Cultural Studies. Malden, MA: John Wiley & Sons.
Edgar, A., & Sedgwick, P. (2007). Cultural Theory: The Key Concepts. London: Routledge.
Stokes, J. (2012). How to Do Media and Cultural Studies. London: Sage.
Ryan, M. (2010). Cultural Studies. Malden, MA: John Wiley & Sons.
Strinati, D. (2004). An Introduction to Theories of Popular Culture. London: Routledge.
Bennett, A. (2005). Culture and Everyday Life. London: Sage.
Pickering, M. (2008). Research Methods for Cultural Studies. Manchester: Edinburgh University Press.
Lecturers and tutors are expected to read the prescribed readings each week and refer to these in class.
They are also expected to engage with additional recommended texts for the purposes of clarifying
terminologies and situating weekly content in the broader context of media and cultural studies.
LEAD BY EXAMPLE: PLEASE DONT USE WIKI IN TUTORIAL MATERIALS WHEN WE HAVE SCHOLARLY
RESOURCES REDIALY AVAILABLE.
Digitized versions of all readings, recommended texts, plus many more titles that extend on the weekly
content, are available to tutors in the CIU 211 section of Curriculum Resources on the Google Drive.
These texts are also available to staff and students via the SAE Qantm library, eBrary or as ebooks on
the Brisbane Pinterest page. https://www.pinterest.com/drjodietaylor/media-cultural-studies/
eBooks and eBrary
The Brisbane campus librarian Mathew Fletcher, has provided a Pinterest repository of texts that will
assist students with learning and research. These text correspond to the lecture content covered in CIU
211 and 210. Please make your students aware of this as these texts are accessible to all students
nationally.
And dont forget to make sure your students are familiar with eBrary borrowing
http://library.saeaustralia.edu.au/resources/databases.html
Here is a link to the PDF guide for using ebrary at SAE:
http://library.saeaustralia.edu.au/downloads/ebrary.pdf
Free coursework eBooks for lecturers, tutors and students
Media Studies 101 is a free educational resources for media and cultural studies students in New Zealand,
Australia, and Pacifica. It is comprehensive and a highly recommended supplementary learning resource for
all tutors and students.
It is organised into four parts:
Part Three: Production and Structures
This text is open under a Creative Commons NZ BY license. That means you are free to download a
copy, chop it up, rework it, rewrite sections, modify and change this text, as long as you acknowledge
the authors.
Understanding Media and Culture is another free educational resource for media and cultural studies
students. It features general media case study articles, each with a prescribed learning objective, set of key
takeaways and accompanied in class exercise a great resource of tutors!
A digitized prescribed reading list and content pack for students, staff and tutors (currently on
google drive and campus online):
https://drive.google.com/a/sae.edu/?tab=po#folders/0B0Pw13MG
N1nybk9ham9nd0FTTjg
https://drive.google.com/a/sae.edu/folderview?id=0B0Pw13MGN1
nyS0Nwb05zeDJyYkE&usp=sharing
Resources on Pinterest
A range of videos content sourced from YouTube, Vimeo etc. that relates to the weekly lecture
topics (links to these resources are located under themed boards on Pinterest).
Additional online tutorials and lectures from Open Access educational sites such as iTunesU, Big
Think, RSA, TED and Kahn Academy (links to these resources are located under themed boards on
Pinterest).
A vast selection of links to free applications to assist and guide students towards improving their
research practice and creative production (located on Pinterest) e.g.
26
The boards shown here contain resources on weekly lecture topics for CIU 210 and 211 which you are
encouraged to draw on in your teaching. These are organised under general themes that relate to topics
covered in class. Please take the time to familiarise yourselves with what has been curated. Perhaps you
might like to create and share some boards of your own.
DONT FORGET TO MAKE STUDENTS AWARE OF THIS RESOURCE BY LINKING TO IT VIA CAMOUS ONLINE.
27
28
29
We Heart It is an image based social networking site like Pinterest, it provides a wider range of facilities
than Pinterest. You can collect your favorite images here and share with your friends. Besides, it
provides you a browser button which you can use to save images to its stores directly, also it has its iOS
and Android mobile apps.
30
Pearltrees recently did a reboot and looks to be one of the most advanced tools you can add to your
curation toolkit. Theres a bit of a learning curve, but heres how it works: Your browser app lets you
pearl the page youre visiting. Connect your Twitter and Facebook accounts, then start organizing
interests into topic folders (pearltrees). Any other curator expert in your topic area might ask to team
up with you (and vice versa) to make your tree branches richer. You can share your pearls through
Twitter, Facebook, email or embed them in your own site. You can also share pearls with colleagues or
your own team. Curators, behold the potential of the pearl.
Scoop.it (tagline: share ideas that matter) ranks as one of the top content curation tools right now.
The service, which has both free and premium versions, styles itself as a series of online magazines
centered on niche topics. Pick a topic you feel knowledgeable or passionate about and start adding to
your collection: articles, blog posts, Twitter lists, videos and so on. Socialbrites Debra Askanse, for
example, has Scoop.it pages on Facebook and Twitter best practices.
Storify is becoming a favourite of bloggers, journalists and Tweeps who like its curated take on current
events. You can pull from blogs, Twitter, Facebook, YouTube, Flickr, Instagram and many other sources
and then export it to your WordPress, Tumblr or Posterous blog or share it on Twitter, Facebook or
Google Plus via social buttons.
Del icio us, the first social bookmarking site, is arguably the granddaddy of the curation movement. Now
that Yahoo! sold the service to YouTube co-founder Chad Hurley, theres wind in its sails again. Its
pretty simple: Find a valuable story or post, bookmark it and share it with the community. Your tags can
be used by you or anyone (if you select public rather than private). The collective body of knowledge on
any topic is simply staggering.
BagTheWeb helps users curate Web content through a different metaphor: Create a bag to collect,
publish and share any content from the Web. One interesting twist is that BagTheWeb enables users to
build networks of bags so that topic areas can be linked together to provide rich datasets about any
subject.
With Bundlr you can create topic pages with photos, videos, tweets and documents and then share
them with everyone. I havent used the service but it looks to be influenced by the Pinterest craze.
The above descriptions have been compiled and adapted form www.stensly.com and www.socialbrite.org
Conceptualise
Consider the learning outcomes of the unit that you are creating digital collections for and develop a
blended learning engagement plan. Take into account websites, social media, publications among other
types of digital materials.
31
Create
Produce digital material - think about digitising your classroom materials in Prezi, an easy to use digital
presentation tool that allows you to translate your uni-modal power point presentations into multi
modal, dynamic and interactive presentations that can be embedded into or linked to from your
Campus Online space.
Go to: http://prezi.com and register for an account with your SAE email address, which will entitle you
to a free education account.
If you choose to create your own digital video content or Flash content, please make sure you contact
SAEs the Online Education Coordinator for the appropriate video introduction clip to accompany your
material and host the content on the secure, corporate SAE Vimeo site. www.vimeo.com
Access
Determine the level of accessibility you want to attach to your digital material - there are times where
you want to include the unlock features in Campus Online to determine when and why a student might
be able to access their material.
Appraise and Select
Consult with the mission statement of SAE Creative Media Institute and the learning outcomes for your
unit to determine what digital material is relevant and appropriate. There may also be legal guidelines in
place that will guide the decision to include material. For example, there are clear procedures in place to
guide the digitalisation of readings via the library. Please contact your local campus librarian for more
information in this regard.
Note: you must personally appraise any and all digital materials you choose to make available to
students, taking into account the quality of the material, any copyright laws that might prevent you from
placing the material within our secure Campus Online environment and the learning outcomes the
materials demonstrates.
Dispose
Discard any digital material that is not appropriate or of an inadequate standard.
Reappraise
Reevaluate all materials when preparing for a new trimester to ensure that is it still relevant, true to its
original form and that the links are still live.
Wikimedia Commons is a free media repository. Please check the type of CC license and its usage terms
before downloading.
Wikipedia : Public domain images lists a large number of sources for images which lists a number of
public domain images on the web. Users are responsible for checking copyright status of images before
using them.
Morgue File has free reference images. Please note that when a search is displayed, the tabs offering
alternatives to the free photos on Morgue File are not free.
Resources on YouTube
CIU TV on YouTube is a channel of supplementary video materials, which have been
especially curated for CIU 211 and 210 students. As you will notice, each weeks class has a
CIU TV playlist. I suggest embedding these playlists into the weekly lecture page under the
Classes tab within Campus Online.
To subscribe to the channel via YouTube go to https://www.youtube.com/user/DrJodieSAE and click
subscribe. Please feel free to contribute to these playlists. To upload videos to the CIU YouTube account
share the video via email then send the email to 3yf8tdi53ehd@m.youtube.com
33
34
APPENDIX
Storify Lecture Embed Codes for weeks 1-12
O week: Introduction to Blended Learning online lecture
<div class="storify"><iframe src="//storify.com/ciu211/introduction-to-blendedlearning/embed?border=false" width="100%" height="750" frameborder="no"
allowtransparency="true"></iframe><script src="//storify.com/ciu211/introduction-to-blendedlearning.js?border=false"></script><noscript>[<a href="//storify.com/ciu211/introduction-to-blendedlearning" target="_blank">View the story "Introduction to Blended Learning " on
Storify</a>]</noscript></div>
Week 1
<div class="storify"><iframe src="//storify.com/ciu211/week1/embed?border=false" width="100%"
height="750" frameborder="no" allowtransparency="true"></iframe><script
src="//storify.com/ciu211/week1.js?border=false"></script><noscript>[<a
href="//storify.com/ciu211/week1" target="_blank">View the story "Week 1 | Postmodernism: 'isms' and
'ologies' of cultural theory" on Storify</a>]</noscript></div>
Week 2
<div class="storify"><iframe src="//storify.com/ciu211/week2/embed?border=false" width="100%"
height="750" frameborder="no" allowtransparency="true"></iframe><script
src="//storify.com/ciu211/week2.js?border=false"></script><noscript>[<a
href="//storify.com/ciu211/week2" target="_blank">View the story " WEEK 2| Poststructuralism: 'isms'
and 'ologies' of cultural theory Part II." on Storify</a>]</noscript></div>
Week 3
<div class="storify"><iframe src="//storify.com/ciu211/week3/embed?border=false" width="100%"
height="750" frameborder="no" allowtransparency="true"></iframe><script
src="//storify.com/ciu211/week3.js?border=false"></script><noscript>[<a
href="//storify.com/ciu211/week3" target="_blank">View the story "Week 3 | Aesthetics" on
Storify</a>]</noscript></div>
Week 4
<div class="storify"><iframe src="//storify.com/ciu211/week4/embed?border=false" width="100%"
height="750" frameborder="no" allowtransparency="true"></iframe><script
src="//storify.com/ciu211/week4.js?border=false"></script><noscript>[<a
href="//storify.com/ciu211/week4" target="_blank">View the story "Week 4 | The Mainstream" on
Storify</a>]</noscript></div>
Week 5
<div class="storify"><iframe src="//storify.com/ciu211/week5/embed?border=false" width="100%"
height="750" frameborder="no" allowtransparency="true"></iframe><script
src="//storify.com/ciu211/week5.js?border=false"></script><noscript>[<a
href="//storify.com/ciu211/week5" target="_blank">View the story "Week 5 | Subculture: Theory and
style" on Storify</a>]</noscript></div>
Week 6
<div class="storify"><iframe src="//storify.com/ciu211/week6/embed?border=false" width="100%"
height="750" frameborder="no" allowtransparency="true"></iframe><script
src="//storify.com/ciu211/week6.js?border=false"></script><noscript>[<a
href="//storify.com/ciu211/week6" target="_blank">View the story "Week 6 | Gender, sexuality & media."
on Storify</a>]</noscript></div>
Week 6 Dubai Only
<div class="storify"><iframe src="//storify.com/ciu211/210-fandom/embed?border=false" width="100%"
height="750" frameborder="no" allowtransparency="true"></iframe><script
src="//storify.com/ciu211/210-fandom.js?border=false"></script><noscript>[<a
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40