Course Title: Make a presentation
Part B: Course Detail
Teaching Period: Term1 2015
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:email@example.com
Name and Contact Details of All Other Relevant Staff
Teacher: Barbara Gliddon
Phone: 9925 4072
Nominal Hours: 30
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
In class: Class lectures and exercises, group discussion and presentations.
Out of class: Independent project work, writing and reading, independent study.
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.
Whole group seminar: Introduction to the course, including course overview and explanation of course structure and assessment.
Production and story elements. Screening and discussion of segments of Battleship Potemkin (Sergei Eisenstein, 1925)
• Why do we need to be able to present information effectively
• What to consider when preparing a presentation
o The objective
o The subject
o The audience
o The place
o Time of day
o Length of talk
Whole group seminar: The Auteur Theory. Screening and discussion of segments of Pierrot Le Fou Jean Luc Godard (1965)
Preparing, organisng and writing the content for your presentation
• Researching your content
• Organising your material
• Writing for the ear rather than the eye
Preparation for panel presentation – selection of panel and topic.
Whole group seminar: Discussion of key genre conventions and narrative devices of film noir. Screening and discussion of segments of Out of the Past (Jacques Tourneur, 1947).
Tutorial: Principles of effective communication. Discussion and analysis of communication skills that support effective presentations
Working with visual aids
o Purpose of visual aids
o Selecting the right visual aids
o Using aids effectively
Whole group seminar: Screening and discussion of segments of Chopper (Andrew Dominik 2000)
Tutorial: Panel presentations ( Assessment task one. Panel presentations.)
Whole group seminar: The key conventions of Hitchcockian thriller. Screening and discussion of segments of Strangers On A Train (Alfred Hitchcock, 1950).
Presentations (may) continue.
Whole group seminar: Hard Boiled Detective. Screening and discussion of segments of The Maltese Falcon (John Huston,1941)
Assessment two: Graded. Recording of presentations will take place in the relevant class.
Whole group seminar: Musicals. Screening and discussion of segments of Cabaret (Bob Fosse 1972)
Assessment two: Graded. Recording of presentations will take place in the relevant clas
Whole group seminar: Imitation Of Life (Douglas Sirk 1959)
Discussion of key genre conventions and narrative devices of Hollywood melodrama including the contribution of emigre film-makers
Editing will take place in relevant class.
Whole group seminar: Unforgiven (Clint Eastwood 1992)
Tutorial: Discussion of key genre conventions and narrative devices of westerns.
Editing will take place in relevant class.
Weeks 10-13 inlcusive - Conduct Interviews productions take place no Make A Presentation classes will be held during this time.
Screening: Badlands (Terrence Malick 1973)
Tutorial: Discussion of key genre conventions and narrative devices of America film in the 1970s
Assessment three Ungraded. A written review of presentations.
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.
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.
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
Hoogterp, B, 2014, Your Perfect Presentation. Mc Graw Hill Professional
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.
To demonstrate competency in this course you will need to complete the following assessment to a satisfactory standard.
You will receive feedback on all assessment and where indicated, you will receive a grade. Graded assessment tasks are equally weighted and will determine your final result for this course.
Assessment task one of three. Ungraded. Panel Presentation:
Week four (and possibility five.)
The class will be divided into groups. Each group will be assigned a film (in week two) and asked to present a ten minute panel discussion on the genre conventions adopted by this film One student will be responsible for introducing the panel and the topic, managing the discussion and wrapping up the discussion with a conclusion. The other members of the panel must each speak for two minutes and be prepared to answer questions.
Assessment two of three. Graded. Individual Presentation.
Due date: Weeks six and seven.
You will give a six minute presentation on a film that represents the film you have been allocated and discuss it with reference to the following.
1. Specific genre conventions (eg: physical settings, period setting, characterisation, 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).make it part of your presentation.
Your presentation should include a minimum of 2 visual aids and it will be recorded to allow you to review and provide feedback on your performance.
Assessment task three of three. Ungraded. Review The Presentation:
Due date: Week 14
Each individual student is to provide a brief written summary of their presentation (300 words). The summary should include the key points they think are important in relation to each of the topics listed above. This should be brief and in your own words, as you would present it in a spoken presentation.You will view the rough-cut of your presentation and review your performance considering the following:
• Use of language
• Non-verbal behaviour
• Use of visual aids
• Mode of presentation
• Organisation and content
• Audience response
• Physical environment
To be delivered to the teacher in week fourteen.
Graded assessment in this course uses the following grades
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.
The assessment matrix demonstrated alignment of assessment tasks with the relevant Unit of Competency. These are available through the course contact in Program administration.
Cover Sheet for Submissions:
You must complete a submission cover sheet for every piece of submitted work, including online submissions. This signed sheet acknowledges that you are aware of the plagiarism implications
The major learning experience involves studio based exercises, demonstration and production. It is strongly advised that you attend all sessions in order to engage in the required learning activities, ensuring the maximum opportunity to gain the competency.
You will receive verbal and written feedback on your work. Where relevant, this feedback will also include suggestions on how you can proceed to the next stage of developing your projects.
Student feedback at RMIT: http://www.rmit.edu.au/browse;ID=9pp3ic9obks7
Monitoring academic progress is an important enabling and proactive strategy to assist you to achieve your learning potential.
Student progress policy: http://www.rmit.edu.au/browse;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. Special consideration, appeals and discipline : http://www.rmit.edu.au/browse;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 : http://www.rmit.edu.au/browse;ID=kw02ylsd8z3n
Course Overview: Access Course Overview