Academic Year:                 2016-2017

Department:      School of Film and Photography

Program(s):        BA in Film and Photography

1. What Was Done

Based on our assessment plan, we evaluated the following:

  1. FILM 101: Understanding Film and Media for “Introductory” proficiency in program learning outcomes 2 (“Understand and appreciate the history and criticism of photography and/or film, and be able to apply this understanding to original creative productions”) and 3 (“Possess effective oral and written communication skills evidenced in project proposals, artist statements, and/or papers relevant to their chosen discipline”).
  2. FILM 112: Aesthetics of Film Production for “Introductory” proficiency in program learning outcomes 1 (“Possess a general technical and aesthetic proficiency in either film or photography and technical and aesthetic mastery of at least one area of their chosen discipline”) and 4 (“Be able to successfully plan, communicate, execute, and defend original artistic creations and/or professional projects, in their chosen discipline”).
  3. PHOT 113: Understanding Photography for “Introductory” proficiency in program learning outcomes 1, 2, 3, and 4.

2. What Data Were Collected

1.  FILM 101. Random samples of the course’s final exam were collected and scored by two faculty members using the prepared rubric.

2.  FILM 112. Random samples of the course’s third production project (“individual sound short”) were collected and scored by two faculty members using the prepared rubric.

3.  PHOT 113. Random samples of the course’s final project were collected and scored by two faculty members using the prepared rubric.

3. What Was Learned

  1. FILM 101. Students met departmental expectations for “understanding and appreciating the history of film” (outcome 2). While the average score with respect to “effective written communication” (outcome 3) met departmental expectations, reviewers noted significant disparities in writing and analytical ability across the sample.
  2. FILM 112. Students met departmental expectations for “general technical and aesthetic proficiency” (outcome 1) and “planning and executing original artistic creations” (outcome 3) in beginning filmmaking.
  3. PHOT 113. Students met departmental expectations for “general technical and aesthetic proficiency” (outcome 1), “possess effective oral and written communication skills” (outcome 3), and “ability to successfully plan, execute and defend original artistic creations” (outcome 4) at the introductory level. While students met departmental expectations with respect to understanding “criticism of photography,” the work was not judged to evidence understanding or appreciation of “the history of photography” (outcome 2).
  4. FILM 101. Although our assessment indicated that no changes to the course are needed with respect to learning outcome 2, the disparity of student ability with respect to learning outcome 3 is a concern, as evidence of “understanding and appreciation of film history” is ultimately—and increasingly, as our students advance through the program—dependent on written communication skills. As such, additional emphasis on writing will be covered in our sophomore film history course. It was further noted that the writing skills of incoming students is a perpetual concern.
  5. FILM 112. Our assessment indicated that no changes to the course are needed with respect to learning outcomes 1 and 3. There was discussion, however, about the relative merits of evaluating an assignment produced by a single student when filmmaking is, in most cases, a collaborative enterprise. (Individual projects are also evaluated when students apply for admission to the film option). It was proposed that, in the future, the efficacy of the course be judged based on a combination of final written examinations and collaborative film projects.
  6. PHOT 113. Our assessment indicated that no changes to the course are needed with respect o learning outcomes 1, 3, and 4. With respect to the “history of photography” component of learning outcome 2, it was observed that this content is covered in course readings and lectures, but that this learning is not formally evaluated in any of the assignments. It was suggested that the written components of the final project, comprised of a proposal and a piece of self-reflection, could instruct students to situate their own work within particular photographic traditions, or makes connections to photographers or photo movements.

4. How We Responded

  1. FILM 101. Although our assessment indicated that no changes to the course are needed with respect to learning outcome 2, the disparity of student ability with respect to learning outcome 3 is a concern, as evidence of “understanding and appreciation of film history” is ultimately—and increasingly, as our students advance through the program—dependent on written communication skills. As such, additional emphasis on writing will be covered in our sophomore film history course. It was further noted that the writing skills of incoming students is a perpetual concern.
  2. FILM 112. Our assessment indicated that no changes to the course are needed with respect to learning outcomes 1 and 3. There was discussion, however, about the relative merits of evaluating an assignment produced by a single student when filmmaking is, in most cases, a collaborative enterprise. (Individual projects are also evaluated when students apply for admission to the film option). It was proposed that, in the future, the efficacy of the course be judged based on a combination of final written examinations and collaborative film projects.
  3. PHOT 113. Our assessment indicated that no changes to the course are needed with respect o learning outcomes 1, 3, and 4. With respect to the “history of photography” component of learning outcome 2, it was observed that this content is covered in course readings and lectures, but that this learning is not formally evaluated in any of the assignments. It was suggested that the written components of the final project, comprised of a proposal and a piece of self-reflection, could instruct students to situate their own work within particular photographic traditions, or makes connections to photographers or photo movements.