Course Title: Make a presentation
Part B: Course Detail
Teaching Period: Term1 2012
Course Code: COMM5908C
Course Title: Make a presentation
School: 345T Media and Communication
Campus: City Campus
Program: C5216 - Diploma of Screen and Media
Course Contact : Program Administration
Course Contact Phone: +61 3 9925 4815
Course Contact Email:firstname.lastname@example.org
Name and Contact Details of All Other Relevant Staff
Teacher: Mr Janis Lesinskis
Phone: 9925 4982
Nominal Hours: 30
Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.
Pre-requisites and Co-requisites
This course covers the performance outcomes, skills and knowledge required to prepare, deliver and review a presentation to a target audience.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title:
BSBCMM401A Make a presentation
Deliver a presentation
1.1 Plan and document presentation approach and intended
Prepare a presentation
2.1 Explain and discuss desired outcomes of the presentation
Review the presentation
3.1 Implement techniques to review the effectiveness of
On successful completion of this unit, you will be able to make a presentation to an audience that incorporates research and methodical preparation.
Details of Learning Activities
Research, analyse and interpret a range of genre films in historical and theoretical contexts.
Identify production and story elements in cinematic narratives.
Read and analyse genre films and film genres with reference to production and story elements, film history and culture, and other intertextual elements (interpreting films using films and/or other works of art).
Identify generic conventions and form a comprehensive knowledge of narrative devices that would enable them to identify film genres and genre films.
Utilise this knowledge in presentation and research; discussing, analysing and interpreting cinematic texts.
Screening: Battleship Potemkin (Sergei Eisenstein, 1925)
Tutorial: Introduction. Course Outline. Assessment Briefing. Production and story elements. Early Film History, Russian School of Montage, German Expressionism.
Assessment 1 Briefing. Establishing timetable for presentations
Screening: It Happened One Night (Frank Capra, 1934)
Tutorial: Classical Hollywood Era: Introduction. Discussing historical and cultural contexts, production and distribution patterns during the Classic Hollywood Era (1916-1960). Discussion of key conventions of romantic comedy.
Discussing class presentations and selection of texts.
Screening: Out of the Past (Jacques Tourneur, 1947).
Tutorial: Discussion of key genre conventions and narrative devices of film noir. Presentations.
Screening: Written on the Wind.
Tutorial: Discussion of genre conventions and narrative devices of melodrama in the films of Douglas Sirk and Max Ophuls.
Screening: Rear Window (Alfred Hitchcock, 1954).
Tutorial: ‘The four careers of Alfred Hitchcock’ and the key conventions of Hitchcockian thriller. Presentations.
Screening: 400 Blows (Francois Truffaut, 1959).
Tutorial: The Auteur Theory. The social, cultural and political contexts for the emergence of French New Wave and the key critics and filmmakers. Presentations.
Screening: Bonnie and Clyde (Arthur Penn, 1967).
Tutorial: The most significant films and filmmakers of the New Hollywood and ‘American Auteur Film’: Penn, Bogdanovich, Malick, Toback. Presentations.
Screening: The Thin Blue Line (Errol Morris, 1988)
Tutorial: Documentary Film and five documentary modes. Presentations.
Screening: Fargo (Joel Coen, 1996).
Tutorial: Genre crossovers, characterisation and narrative devices in the films of Coen brothers.
Screening: Chungking Express Wong Kar-Wai, 1994)
The elegiac romances of Wong Kar-Wai. The rise of Hong Kong and East Asian cinema.
Barrios, Richard. Screened Out: Playing Gay in Hollywood from Edison to Stonewall. Routledge: New York and London, 2003.
Benjamin, Walter. Illuminations. Fontana Press: London, 1970.
Bordwell, David and Thompson, Kristin. Film Art: An Introduction. Alfred A. Knopf: New York, 1986.
Felicity Collins, Brazen Brides, Grotesque Daughters, Treacherous Mothers Women’s funny business in Australian cinema from Sweetie to Holy Smoke.
Womenvision, Ed. Lisa French, Damned Publishing, Melbourne 2003)
Dixon, Wheeler Winston and Foster, Gwendolyn Audrey. A Short History of Film. Rutgers University Press: New Brunswick, New Jersey, 2008.
Elsaesser, Thomas, Horwath, Alexander and Noel King The Last American Picture Show: New Hollywood Cinema in the 1970s. Amsterdam University Press: Amsterdam, 2004.
Elsaesser, Thomas. European Cinema: Face to Face With Hollywood. Amsterdam University Press: Amsterdam, 2005.
Hollows, Joanne, Hutchins, Peter and Jancovich, Mark, ed. The Film Studies Reader. Arnold: London, 2000.
Kuhn, Annette. Women’s Pictures: Feminism and Cinema. Verso, 1994. Print.
Mennel, Barbara. Cities and Cinema. Routledge, 2008.
Monaco, James. How to Read a Film: The Art, Technology, Language, History and Theory of Film and Media. Oxford University Press: New York and Oxford, 1981.
Naremore, James. More Than Night: Film Noir in its Contexts. University of California Press: Berkeley, 2008.
Nichols, Bill, ed. Movies and Methods. University of California Press: Berkeley, Los Angeles, London, 1976.
Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Indiana University Press: Bloomington and Indianapolis, 1991.
Rosen, Philip, ed. Narrative, Apparatus, Ideology: A Film Theory Reader. Columbia University Press: New York, 1986.
Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking and the Studio System. McGraw Hill Education, 1981.
Sontag, Susan. On Photography. Penguin, 1977.
Tay, Sharon. ‘New Wave, Authorship, and the Politics of the Festival Circuit: Abbas Kiarostami and the New Iranian Cinema.’ Fifty Contemporary Filmmakers. Yvonne Tasker, ed. Routledge: London & New York, 2002, 204-211.
Thompson, Kristin. Herr Lubitsch Goes to Hollywood: German and American Film After World War I. Amsterdam University Press: Amsterdam, 2005.
Wright, Will. Six Guns and Society. U of California Press, 1975. Print
War Film: Sergeant York (Howard Hawks, 1941)
Science-Fiction: Invasion of the Body Snatchers (Don Siegel, 1956)
Melodrama: Written on the Wind (Douglas Sirk, 1956)
Western: The Searchers (John Ford, 1956)
Thriller: Vertigo (Alfred Hitchcock, 1958)
A nouvelle vague ‘chase film’: Breathless (Jean-Luc Godard, 1960)
Musicals: Umbrellas of Cherbourg (Jacques Demy, 1964)
War Film: Ivan’s Childhood (Andrei Tarkovski, 1962)
Melville’s Gangster Code: Le Samourai (Jean-Pierre Melville, 1967)
Queer Film: Les Biches (Claude Chabrol, 1968)
New Hollywood and ‘The Unmotivated: The Last Picture Show (Peter Bogdanovich, 1971)
New Western: Bad Company (Robert Benton, 1972)
Chabrol’s Middle Class Thriller: Le Boucher (Claude Chabrol, 1969)
Hostage Drama With Political Subtext: Dog Day Afternoon (Sidney Lumet, 1975)
Conspiracy Thriller: The Conversation (Francis Ford Coppola, 1974)
Neo-Noir: Postmodern Joviality and Con-Games: House of Games (David Mamet, 1987)
‘Something Like Realism’ - The New Iranian Cinema: A Taste of Cherry (Abbas Kiarostami, 1998)
New Asian Horror: Dark Water (Hideo Nakata, 2001)
The Elegiac Romances of Wong kar Wai: Chunking Express (Wong kar-wai, 1994)
Political Documentary: Waco: The Rules of Engagement (William Gazecki, 1997)
The Japanese ‘Policier’: Hana-Bi (Kitano Takeshi, 2000)
Overview of Assessment
A range of assessment will be used to assess practical skills and knowledge.
Formative Assessment (not graded)
Assessment task 1. Research Assignment and Presentation:
You will investigate and summarise in your own words what you understand to be conventions, story and production elements in a film genre you have chosen to investigate. You will choose an example of a film that represents the genre you have chosen and make it part of your presentation. After carrying out your individual investigate you can combine you with another student to make a spoken presentation to the class. You can make your presentation with another student making sure you clarify which of the topics listed below will be addressed by you.
1. Specific genre conventions (eg: physical settings, period setting, characterisations, tropes.)
2. Examples of typical story elements (eg: familiar synopsis, typical events, actions and situations.)
3. Typical production elements and features (eg: common uses of sound or music for narrative purpose or emotional effect, production design elements, recurring lighting, composition and/or special visual effects techniques.)
4. Illustrations of each of the above from a specific text (ie: a film).
Summative Assessment (graded)
Assessment task 2. Summary of Research:
Each individual student is to provide a brief written summary of their investigation and the key points they think are important in relation to each of the four topics listed above. This should be brief and in your own words, as you would present it in a spoken presentation.
You need to include a bibliography and filmography that you used as reference for you your verbal and written presentations using the four headings as outlined in assessment task 1).
Submitted work should be printed (not hand written), not more than 800 words and can be in brief point form. A copy must be submitted with cover sheet to reception for date-stamping. Please confirm you have identified the correct drop box to place your paper for assessment. Read the cover sheet carefully and make sure you understand the meaning of plagiarism. Please keep a copy of your work and the completed cover sheet as evidence that you have submitted your work by the due date.
Due: end of TAFE week 11.
Your assignment will be assessed using the following grades
CHD Competent with High Distinction
CDI Competent with Distinction
CC Competent with Credit
CAG Competancy Achieved - Graded
NYC Not Yet Competent
DNS Did Not Submit for Assessment
Grading criteria for this assessment can be found on the course Blackboard site.
The assessment matrix demonstrates alignment of assessment tasks with the relevant Unit of Competency. These are available through the course contact in Program administration.
You will receive feedback from teachers on your work. This feedback will also include suggestions on how you can proceed to the next stage of developing your projects.
Please advise teacher in advance if an extension of time or special consideration is required for submission of work. Refer to the course blackboard site for policy information including information on late submissions.
Special consideration Policy (Late Submission)
All assessment tasks are required to be completed to a satisfactory level. If you are unable to complete any piece of assessment by the due date, you will need to apply for an extension.
Please refer to the following URL for extensions and special consideration:
RMIT has a strict policy on plagiarism. Please refer to the website for more information on this policy. The cover sheet you need to submit with assessment work is also a signed agreement between you and RMIT University Plagiarism policy.
Course Overview: Access Course Overview