Course Title: Make a presentation

Part B: Course Detail

Teaching Period: Term1 2014

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.

All assessments take place between weeks three and ten inclusive. Presentation times will be allocated by the teacher in week two.

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.

Allocation of presentation times and dates by teacher.

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.


Presentations begin

Week 3

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

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

Presentations continue


Week 4

Screening: This is Spinal Tap

Tutorial: Discussion of key genre conventions and narrative devices of mockumentary.


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 and his use of suspense.


Presentations continue.

Week 6

Screening: Kind Hearts and Coronets

Tutorial:Discussion of key genre conventions and narrative devices of Ealing Comedies and their place in British cinema in the 1950s.


Presentations continue.

Week 7 Screening: Cabaret

Tutorial:Discussion of key genre conventions and narrative devices of Musicals


Presentations continue

 Week 8

Screening: Imitation Of Life

Tutorial: Discussion of key genre conventions and narrative devices of Hollywood melodrama including the contribution of emigre film-makers


Presentations continue

Week 9


Tutorial: Discussion of key genre conventions and narrative devices of westerns.

Presentations conclude


Presentations conclude.

Weeks 10-13 inlcusive -  Conduct Interviews productions take place no Make A Presentation classes will be held during this time.

Week 14

Screening: Badlands

Tutorial: Discussion of key genre conventions and narrative devices of America film in the 1970s.

No presentations this week as they concluded in week nine.

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

 To demonstrate competency in this course you need to complete each one of the following pieces of assessment to a satisfactory standard.

 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.

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 Assessments (graded)

Assessment tasks 2 and 3  Summary of Research Making the presentation  (to class in designated time) and Review the presentation (class discussion.)
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.

You must submit all pieces of assessment in order for your competency to be assessed in this course.

Assessment tasks in this course are either formative or summative. Formative tasks provide the basis for ongoing feedback and can be considered essential building blocks for the more substantial summative assessment tasks. Summative assessment tasks in this unit are graded.

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
You must complete a submission cover sheet for every piece of submitted work. This signed sheet acknowledges that you are aware of the plagiarism implications.

Feedback - You will receive spoken and written feedback from teachers on your work. Where appropriate, this feedback will also include suggestions on how you can proceed to the next stage of developing your projects.
Student feedback at RMIT;ID=9pp3ic9obks7

Student Progress
Monitoring academic progress is an important enabling and proactive strategy to assist you to achieve your learning potential. Student progress policy;ID=vj2g89cve4uj1

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. You can apply in writing for up to a week’s extension from your course teacher. If you need a longer extension, you wil need to apply for special consideration. Special consideration, appeals and discipline;ID=qkssnx1c5r0y

Academic Integrity and Plagiarism - RMIT University has a strict policy on plagiarism and academic integrity. Please refer to the website for more information on this policy go to Academic Integrity;ID=kw02ylsd8z3n

Work Placement:
It is a requirement of this program that all students participate in authentic work related tasks. These may be either simulated or in a real work environment. On occasion, we are approached by industry and given opportunities for students to apply for short term placements. When these placement opportunities arise, students are required to negotiate the specific details with the relevant program coordinator or teacher. All industry placements require students, RMIT staff and host organisations to sign a written agreement prior to the commencement of the placement.

Course Overview: Access Course Overview