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 Email:firstname.lastname@example.org
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
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: 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.
Screening: Out of the Past (Jacques Tourneur, 1947).
Tutorial: Discussion of key genre conventions and narrative devices of film noir.
Screening: Strangers On A Train (Alfred Hitchcock, 1950).
Tutorial: ‘The four careers of Alfred Hitchcock’ and the key conventions of Hitchcockian thriller.
Screening: Kind Hearts and Coronets
Tutorial: Ealing Comedies. Britisdh cinema in the 1950s.
Week 7 Screening: Cabaret
Week 8 Imitation Of Life
Week 9 Stagecoach
Week 10 The Maltese Falcon
Tutorial: Hard Boiled Detective
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.
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)
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