Course Title: Make a presentation

Part B: Course Detail

Teaching Period: Term1 2013

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

Name and Contact Details of All Other Relevant Staff

Teacher: Barbara Gliddon
Phone: 9925 4072

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


Course Description

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

Performance Criteria:

1.1 Plan and document presentation approach and intended
1.2 Choose presentation strategies, format and delivery
methods that match the characteristics of the target
audience, location, resources and personnel needed
1.3 Select presentation aids, materials and techniques that
suit the format and purpose of the presentation, and will
enhance audience understanding of key concepts and
central ideas
1.4 Brief others involved in the presentation on their
roles/responsibilities within the presentation
1.5 Select techniques to evaluate presentation


Prepare a presentation

Performance Criteria:

2.1 Explain and discuss desired outcomes of the presentation
with the target audience
2.2 Use presentation aids, materials and examples to support
target audience understanding of key concepts and
central ideas
2.3 Monitor non-verbal and verbal communication of
participants to promote attainment of presentation
2.4 Use persuasive communication techniques to secure
audience interest
2.5 Provide opportunities for participants to seek clarification
on central ideas and concepts, and adjust the presentation
to meet participant needs and preferences
2.6 Summarise key concepts and ideas at strategic points to
facilitate participant understanding


Review the presentation

Performance Criteria:

3.1 Implement techniques to review the effectiveness of
the presentation
3.2 Seek and discuss reactions to the presentation from
participants or from key personnel involved in the
3.3 Utilise feedback from the audience or from key personnel
involved in the presentation to make changes to central
ideas presented

Learning Outcomes

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.

Teaching Schedule

Week 1

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

Week 2

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.

Discussing class presentations and selection of texts.

Week 3

Screening: Out of the Past (Jacques Tourneur, 1947).

Tutorial: Discussion of key genre conventions and narrative devices of film noir.

Presentations begin


Week 4

Screening: Chopper

Australian independent


Presentations continue.

Week 5

Screening: Strangers On A Train (Alfred Hitchcock, 1950).

Tutorial: ‘The four careers of Alfred Hitchcock’ and the key conventions of Hitchcockian thriller.


Presentations continue.

Week 6

Screening: Kind Hearts and Coronets

Tutorial: Ealing Comedies. Britisdh cinema in the 1950s.


Presentations continue.


Assessment 1:
Presentations continue.

Week 7 Screening: Cabaret



Presentations continue

 Week 8 Imitation Of Life

Tutorial: Melodrama


Presentations continue

Week 9 Stagecoach

Tutorial: Western

Week 10 The Maltese Falcon

Tutorial: Hard Boiled Detective


 Presentations conclude.

Learning Resources

Prescribed Texts


Other Resources

Recommended Reading:

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.

Assessment Tasks

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.

Assessment Matrix

The assessment matrix demonstrates alignment of assessment tasks with the relevant Unit of Competency. These are available through the course contact in Program administration.

Other Information

The major learning experience involves studio based exercises, demonstration and production. It is strongly advised that students attend all sessions in order to engage in the required learning activities, ensuring the maximum opportunity to gain the competency.

Cover Sheet for Submissions
All students must complete a submission cover sheet for each piece of submitted work.

Plagiarism - RMIT has a strict policy on plagiarism. For more information on this policy go to Academic Integrity

All students have access to the myRMIT copyright shell. The myRMIT copyright shell contains information on copyright, plus also examples on how to use copyright works as part of your projects and assignments.

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:

Student Progress Committee
This committee promotes the early identification of students who are not achieving acceptable academic performance. The committee provides identified students with assistance and seeks to ensure such students are aware of the range of support services available to them at the University. Student Progress Committee (SPC)

Student Feedback
Students are offered opportunities to provide feedback through a variety of mechanisms including online surveys conducted at the end of each course or semester, student complaints and Student Staff Consultative Committees

Course Overview: Access Course Overview