Course Syllabus

JOHN CABOT UNIVERSITY

COURSE CODE: "DMA/AS 323"
COURSE NAME: "Short-form Video: History and Practice"
SEMESTER & YEAR: Spring 2021

SYLLABUS

INSTRUCTOR: Kwame Phillips
EMAIL: [email protected]
HOURS: W12:30 PM 3:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: COM 230 or AS 215
OFFICE HOURS:

COURSE DESCRIPTION:
Short-form videomaking commonly utilized in social media ties current mediamaking practices with the early history of film. It is now one of the predominant means of communication in social media. Historically, the short has taken on many forms, including animation, avant-garde art, propaganda, news reels, advertising, education, music videos, viral media, fan media, mash-ups, video essays, documentary and news. In this course, students will perform a number of practical production exercises that engage various short-form formats to allow for a deeper historical and aesthetic understanding of audiovisual media. By developing projects that involve planning and targeting audiences, this course will also develop strategic communication skills and expand the creative palate. Students are expected to have prior experience in basic video editing and camera work.

SUMMARY OF COURSE CONTENT:

Throughout the semester students will integrate a historical perspective of the evolution of the short-form audiovisual format through screenings and some readings, while at the same time applying techniques to contemporary mediamaking practices. Though short-form can be anything up to 10-minutes in length, this class will primarily focus on works that are 3-minutes or less. Activities will scaffold from diverse formats, such as the one-minute Lumière film, stop-motion animation, avant-garde art film, Warhol screentests, 30-second ads, music videos, micro-documentaries, and a final project with written prospectus. Weekly lessons will combine historical overviews with screenings of significant works with practical workshops. Students will be required to participate during in-class exercizes and to do projects outside of class in order to develop and advance their skills in editing, sound recording, lighting, composition, camera movement, and directing. Students will be expected to storyboard and script their projects, develop a distribution and/or exhibition plan (including researching film festivals), and statement of ethics for their finished projects.

LEARNING OUTCOMES:

By the end of the course, students will:

• Gain an understanding of how the contemporary short-form video has its roots in the history of audiovisual media.

• Develop and execute short-form videos that can be distributed in social media.

• Storyboard and write a script for short-form video.

• Develop an understanding for how to integrate different approaches to filmmaking in the planning and production of short-form video.

TEXTBOOK:

NONE

REQUIRED RESERVED READING:

NONE

RECOMMENDED RESERVED READING:

NONE

GRADING POLICY
-ASSESSMENT METHODS:

Assignment	Guidelines	Weight
Attendance and participation		10
Find and share exercises		5
Screen test/Actuality		10
Storyboards		5
Stop-motion project		10
Music video project		15
PSA/Propaganda project		15
Narrative project		20
Digital portfolio		10

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.

-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed.

ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.

STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

SCHEDULE

1. WED, JAN. 20: INTRODUCTION // THE WARHOL SCREEN TEST

Lecture: Introduction // Overview and history of Warhol screen tests

Screen: Examples of Warhol screen tests

For next week:

Exercise 1.1: Create a Warhol screen test (90 seconds)

Exercise 1.2: Create a video introducing yourself (1-minute max)

Read: Gerry Turvey, "Panoramas, Parades and the Picturesque: The Aesthetics of British Actuality Films, 1895-1901"

2. WED, JAN. 27: OVERVIEW OF HISTORY AND FORM // THE ACTUALITY

Crit: View and critique student screen tests

Lecture: Overview and history of the short form and Actualities

Screen: Lumière and Edison, British actuality films

For next week:

Exercise 2: Make a one-minute actuality film

Read: It's Nice That, "The crit: a survivors guide and how to make the most of

feedback"

3. WED, FEB. 3: THE MASHUP

Crit: Screen and critique student actuality films

Lecture: Overview and history of mashups and supercuts.

Screen: Examples of mashups and supercuts

For next week:

Exercise 3: Convert a horror film trailer to comedy or vice-versa

Find and Share: A mashup or supercut

4. WED, FEB. 10: THE STOP-MOTION SHORT

Crit: Screen and critique mashups

Lecture: Overview and history of stop-motion shorts. Stop motion software guide.

Screen: Examples of stop-motion shorts

For next week:

Storyboard 1: Make a storyboard for your stop-motion short

Find and Share: A stop-motion short

5. WED, FEB. 17: MINI-CLASS / WORKSHOP

Crit: Critique stop-motion storyboards

For next week:

Project 1: Stop motion short due

6. WED, FEB. 24: THE MUSIC VIDEO

Project Crit: Screen and critique stop motion films

Lecture: Overview and history of music videos

Screen: Examples of music videos

For next week:

Storyboard 2: Make a storyboard for your music video

Read: Amy Clarke, “Tips on Making a Killer Portfolio and Show Reel”

Find and Share: A music video

7. WED, MAR. 3: THE MUSIC VIDEO (CONTINUED) / THE DIGITAL PORTFOLIO

Crit: Music video storyboards

Lecture: How to make a digital portfolio.

For after break:

Project 2 due: Music video

8. WED, MAR. 17: PSAs AND PROPAGANDA SHORTS

Project Crit: Screen and critique student music videos

Lecture: Overview and history of PSAs and propaganda shorts.

Screen: Examples of PSAs and propaganda shorts

For next week:

Exercise 4: Develop topic for a PSA or propaganda short treatment (research topic and target audience)

9. WED, MAR. 24: PSAs AND PROPAGANDA SHORTS (CONTINUED)

Crit: Critique PSA or propaganda short topics

For next week:

Find and Share: A PSA or propaganda short

10. WED, MAR. 31: NARRATIVE SHORTS

Lecture: Overview and history of narrative shorts

Screen: Examples of narrative shorts

For next week:

Project 3 due: PSA or propaganda short

Exercise 5: Make a storyboard and treatment for your narrative short

11. WED, APR. 7: NARRATIVE SHORTS (CONTINUED)

Project Crit: Screen and critique PSA or propaganda shorts

Crit: Critique narrative short storyboards and treatments

For next week:

Exercise 6: Create a draft of your digital portfolio

Find and Share: A narrative short

12. WED, APR. 14: MINI-CLASS / REVISIONS

Crit: One on one with revised projects

13. WED, APR. 21: MINI-CLASS / WORKSHOP

Crit: One on one with portfolios

14. WED, APR. 28: WORKSHOP

For exam week:

Project 4 due: Narrative short

Project 5 due: Digital portfolio

FINAL FILM PRESENTATION AND CRITIQUE IN EXAM WEEK.