2012/13 program review for communication and … program review for . communication and media...

CTE 2011

2012/13 Program Review for Communication and Media Studies

REVISED 4/13

Two Year CTE Report: Broadcasting,

Film Studies, & Journalism

Respectfully Submitted by: Nancy Grass Hemmert, Chair; Frank Dawson, Broadcasting;

Salvador Carrasco & Josh Kanin, Film Studies; and Saul Rubin, Journalism

April 30, 2013

CTE 2011

CTE 2011

April 30, 2013

Program Review Committee Santa Monica College 1900 Pico Blvd. Santa Monica, Ca. 90405 Dear Program Review Committee, The Communication and Media Studies Department is happy to submit this year’s CTE Program Review for Broadcasting, Film Studies, and Journalism. We are excited to share all the exciting things happening in our programs and about our many recent and varied accomplishments! The past two years have been exciting. We earned a new full-time faculty member in Film Studies, Salvador Carrasco, who has developed a full-fledged film production program that has been receiving some high profile attention from the likes of the Director’s Guild, the Writer’s Guild, and Film Festivals from around the country. Working with our long-time Critical Film Studies faculty member, Josh Kanin, the Film Program has continued to provide students and the College at large with exceptional screenings, talk-backs, and film related presentations. Our Broadcasting program has merged with our Media Studies area to create a synergistic theory-meets-practical-application partnership. We were also lucky enough to add a new Media Studies faculty member this semester (Spring, 2013), Lauren Movius, who has expertise in Global Media. Professors Movius and Dawson along with our seasoned Media Studies faculty, Maria Munoz and Sara Brewer, have begun work on the development of our Global and Spanish Language Media Program. This program will meet the growing demand for professionals well versed in global and Spanish language media. Additionally, under the direction of Frank Dawson in Broadcasting, we launched the Promo Pathway, a partnership between Santa Monica College, PromaxBDA, and the South Bay Center for Community Development. Promo Pathway, designed to diversify the entertainment promotions workforce, provides students with the skills, knowledge, training and relationships necessary for entry level employment in the Entertainment Marketing and Promotion area of the Digital Media industry. Our Journalism program, under the leadership of Saul Rubin has continued to earn awards and national attention. As the Communication Chair of Excellence, Prof. Rubin has also been working hard at getting all the archived Corsairs dating all the way back to the first edition into a searchable database. This work will assist everyone on campus doing research into SMC days gone by! One area in which we have been making improvements is in our assessment of SLOs. Unfortunately with the change of names within the department (Speech to Communication Studies and Communication to Media Studies) and the reorganization of Broadcasting merging with the now Media Studies area, our department course SLOs became confused and improperly loaded into the ISIS system and duplicated into the CurricuNet system. As we have untangled the confusion caused by this, we have used this unfortunate quagmire as an opportunity to re-

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consider, update, and refine all of our SLOs. Although it meant not assessing some of the Broadcasting SLOs in the Fall 2012, it did afford us a chance to discuss both our course and program goals as they relate to SLOs. The Communication and Media Studies Department is very proud of the work our faculty have been doing and even more proud of our students’ accomplishments. We still have work to do, but we are confident that our goals of growing film production and Promo Pathway into certificate programs and our many other important goals are easily in reach. We look forward to seeing you to discuss this further. Sincerely,

Nancy Grass Hemmert Chair, Communication and Media Studies

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Two Year CTE Report: Broadcasting

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Program Information

Program name: Broadcasting-Media Studies

Academic year: 2012/2013

Program contact: Frank Dawson Extension: 4585

Program Type

Check all boxes that apply to your program.

X Instructional

X Career Technical Education (CTE)

Student or Instructional Support Service Administrative Service

Review Period

6 year X Annual

A. Program Description and Goals This section addresses the big picture. Prompts should help you describe your program and goals and the relationship to the institutional mission, vision and goals, and how the program is funded.

1. Describe the program and/or service area under review and how the program supports the mission of Santa Monica College. The Broadcasting program within the Media Studies discipline at Santa Monica College

currently consists of 14 classes that prepare students for both transfer to four-year Colleges and Universities, and completion of an Associate of Science degree in either Broadcast Programming and Production, or Broadcast Sales and Management. Certificates of Achievement are also offered with an emphasis in either Broadcast Programming and Production, or Broadcast Sales and Management. Areas of focus available for study include, radio, TV, and sports broadcasting. Additionally, the Broadcasting and Media Studies programs are currently working to develop a Global/Spanish Language Media emphasis to better meet current industry needs.

As a Career Technical Education program (CTE), we also focus on offering Internships and hands-on learning opportunities for our students to prepare them for direct employment in the rapidly expanding Digital Media industries. The Promo Pathway, a sequence of courses that provide students with the skills, knowledge, training and relationships necessary for entry level employment in Entertainment Marketing and Promotion, is an example of our commitment to developing viable school-to-work opportunities in collaboration with industry and community partners. Internships are an integral component of the Promo Pathway, with each of the

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advisory council corporate entities making a commitment to offer students in the cohort internship opportunities. An Associate in Science Degree and Certificate of Achievement in Entertainment Promotion and Marketing are currently being developed based on the Promo Pathway model. Employment prospects in Radio and television, including work for promotion writer/producer/editors, project to show modest gains into 2020.

In a broader context, the skills developed through the sequence of courses also prepares students for employment opportunities in advertising, public relations, graphic design, video and sound editing, copywriting, and a variety of entry level media management positions. Exposure to the inner-workings of this industry gives students a more comprehensive look at job functions, job focus, and responsibilities not easily identified from outside these businesses. Management level Mentors are also identified and provided by the industry partners for each student on a one to one basis. These experiences are directly relatable to the potential for student success in other employment sectors. Each student that follows the proscribed curriculum pathway will further develop ancillary abilities in writing, entrepreneurship, project management, time management, oral communication, and critical thinking.

Courses in the Broadcasting discipline continue to focus on providing students with both a fundamental and practical understanding of mass media and media related issues. Toward that goal, each class continues to satisfy all or part of the department SLO to give students instruction that will enable them to demonstrate the ability to access, identify, analyze, evaluate and use information. We have made additional progress in further emphasizing digital media writing, producing and editing skills through the introduction of two new courses in 2011, Media 20 and Media 21. Media 20 was utilized in Fall 2012 for a special pilot project in association with the History department and the Emeritus College to provide visual stories depicting significant events in the history of the City of Santa Monica.

In the area of Radio, under the supervision of adjunct faculty member Jason Beaton we have updated the software programs for our Media 19 course in which students operate the on-campus and internet radio station. We are now using Cool Edit/Adobe Audition, Station Playlist Studio, and Station Playlist Creator. These are the standard software programs currently in use by most major radio outlets. In addition, the station consoles have been rewired and now feature the ability to mix content from two computers, two CD machines, and a Telos system for taking phone calls in order for students to practice on-air interviewing techniques. We also have a format clock (hour wheel) to teach the students where their pre-recorded production would play during an hour radio show. Students are responsible for writing, editing, producing, and programming Headline News, Sports Highlights, Entertainment Updates, Campus News, Campus, Sports, Campus Talk, PSA's, and Promos.

The goals of the Media 19 radio class for the future are to expand installation of all the new software programs to all computers in the radio lab areas. This will give us the ability to create a new class that will incorporate radio programming and voice tracking so students can learn updated and advance skills in broadcast production. A reorganization of the lab space will

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also allow us to introduce “live” in-studio interviewing, and the possible development of a series of student produced radio dramas.

In the area of Television, there were a number of highlights for the Media 46 television production class for 2012, led by adjunct faculty member Gail Fetzer and broadcast lab assistant Brad Lemonds. During the Winter session we covered numerous campus sporting events. Our students recorded 12 basketball games and a volleyball game from the SMC Pavilion. We combined work with the sports broadcasting class whose students provided play by play announcing, color commentary, and sideline feature stories with players and coaches. These games were aired on Santa Monica City TV channel 16.

In the Spring, we partnered with the City TV using our “flypack” mobile studio system to help produce their programs while they awaited delivery of their broadcast equipment for the new City TV production studio. In return, our students were able to use their studio for the production of student projects. The Media 46 students also served their production internships at the studio, with each student logging a minimum of 32 hours of service time. Nearly 80 City TV programs were produced with the aid of the SMC students and all of these shows were aired on City TV. In an expansion of the relationship, City TV provided the use of their mobile production truck for the recording of three SMC theater department productions. The station also provided 3 of their technical staff to guide students in the use of the equipment and to share their mobile production expertise. The relationship with City TV is now on-going, with SMC students from Media 46 serving as the production crew for all of City TV’s studio productions.

The program supports the Santa Monica College mission in multiple ways. With small, hands-on classes, students have the chance to learn and explore all aspects of the Media and Broadcasting business in a safe and encouraging environment. Students gain practice and confidence using real-world broadcasting, radio, and TV equipment to develop their creative projects with the guidance and support of professional faculty who have all worked in the broadcasting industry. In this way, students develop a realistic understanding of how their work in the classroom will translate into jobs in the industry. Along with the skills learned, students are encouraged to explore their interests and curiosities through the creative projects and stories they develop for these classes that not only prepare them for the creative demands of a broadcasting career or in upper division work.

We strive to provide our students with instruction that will further develop their critical thinking skills, and will also allow for practical training that replicates industry practices and standards. Our current course roster includes:

Media 11, INTRODUCTION TO BROADCASTING 3 UNITS

Transfer: CSU • Prerequisite: None.

Radio, television, and related electronic media are introduced in this course with emphasis on history, programming, FCC regulations, operations, economics, and social impact. The course

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also includes an examination of the newer technologies such as the Internet, cable, direct broadcast satellites, computers, wireless phones, and the communications technology revolution.

Media 12, BROADCAST PROGRAMMING AND MANAGEMENT 3 UNITS


Principles of radio and television programming and management, including program sources, programming theories, station organization, community involvement, market demographics, and fulfillment of FCC requirements are covered in this course.

Media 13, BROADCAST ANNOUNCING AND PRODUCTION 3 UNITS


Training and practical experience in announcing for radio and television and for radio control room operation, combining voice, recordings, editing, and other elements in broadcasting performance and production.

Media 14, NEWSCASTING AND NEWSWRITING 3 UNITS


This course familiarizes the student with the expectations of journalism by the public and teaches the student the basic newswriting guidelines used in broadcast journalism. Through newswriting assignments and exercises, the student will become adept in basic broadcast news writing.

Media 14 is also Journalism 4A. Students may receive credit for one, but not both.

Media 17, SPORTSCASTING FALL / SPRING SPORTS (3,3) 3 UNITS


This course is a continuation of sports reporting for the broadcast media with emphasis on techniques of interviewing, color reporting, and play-by-play announcing for spring sports, including baseball, basketball, and track. Field work involves interview shows with coaches, players, and sports figures.

Media 18, BROADCAST ADVERTISING 3 UNITS


This course examines advertising as an economic support for commercial broadcast, cable, and related telecommunications media. Audience surveys, rate structures, client, ad rep firms and advertising agency relationships are discussed and explored.

Media 8 is the same course as Business 33. Students may receive credit for one, but not both.

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Media 19, BROADCASTING WORKSHOP (3,3) 3 UNITS

Transfer: CSU • Prerequisite: Media 13 or 14

This course offers further training and practical experience in producing and announcing for radio. Students use digital audio workstations to produce commercials, newscasts, promos and various other audio projects. Lecture topics include an overview of current industry trends, plus instruction on voiceovers, digital editing and mixing, podcasting, Internet streaming and satellite radio. Students will also have the opportunity to host a weekly radio show to help prepare them for professional radio station work. One repeat of the course is allowed.

Media 20, Introduction to Writing and Producing Short Form Media 3 units


This course offers basic training and practical experience in writing, producing, shooting, music selection, and directing voice-over talent for short-form media projects. These project forms include on-air promos, commercials, public service announcements, webisodes, and special marketing campaigns. The course will take a hands-on approach to enable the development of basic copywriting and production skills, and will provide students with an introductory understanding of television, radio, and alternative media branding and marketing strategies. Storytelling, scriptwriting, and coordinating essential production elements will be emphasized.

Media 21, Short Form Visual Media Production 3 units

Transfer: CSU • Prerequisite: Media 20

This course offers advanced instruction and focused practical experience in concept development, writing and producing for short form visual media projects. These project forms include on-air promos, commercials, public service announcements, webisodes, and special visual marketing campaigns. Upon entry to the course, students should have previously acquired introductory writing, producing and digital editing skills applicable to short form media production. The major course objective is to enable professional visual writing and production skills through immersion in short-form producing and writing assignments applicable to television, radio, internet, mobile device, and other digital media formats. Story and script development, and short form project conception and production will be emphasized.

Media 46, TELEVISION STUDIO PRODUCTION 3 UNITS


This course provides basic training in the use of television studio equipment and facilities; basic multi-camera scriptwriting; camera operations; audio and video control; lighting; graphics; editing; portable video, and audio production techniques.

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Media 48, TELEVISION FIELD PRODUCTION WORKSHOP (3,3) 3 UNITS


This course includes production of a variety of electronic media projects primarily for airing on public cable access and public television station channels. Projects will also be developed for podcasting, inclusion in video/film festivals, and distribution to other free media entities. The emphasis in this course is on the development of creative video camera techniques, writing, producing, and editing skills for the production of digital media. Students will also have the opportunity to produce video segments for the Journalism 19 online magazine and Corsair newspaper online edition.

Media 90, BROADCASTING INTERNSHIP 2 UNITS

Transfer: CSU • Prerequisite: Media 11 or 13 or 14. Students must arrange an approved internship prior to enrolling in this class. F-1 students must see the Immigration Coordinator at the International Education Center before enrolling.

2. Identify the overarching goal(s) or charge/responsibilities of the program or service area. If appropriate, include ensuring/monitoring compliance with state, federal or other mandates.

According to the April 2012 United States Department of Education Office of Vocational and Adult Education report, Investing in America’s Future A Blueprint for Transforming Career and Technical Education:

Effective, high-quality CTE programs are aligned not only with college- and career-readiness standards, but also with the needs of employers, industry, and labor. They provide students with a curriculum based on integrated academic and technical content and strong employability skills. And they provide work-based learning opportunities that enable students to connect what they are learning to real-life career scenarios and choices.

That has been, and will continue to be the main goal, focus, and purpose of the Broadcasting program at Santa Monica College. One example of that commitment is the broadcasting program’s Promo Pathway. In recognition of the stellar effort in launching the Promo Pathway, The Obama Administration’s “Future Skills for America” initiative administered by the Aspen Institute has recognized Santa Monica College’s Promo Pathway as a “Best Practices” achievement. None of the Broadcasting programs are subject to state, federal or other mandates. 3. If applicable, describe how the Institutional Learning Outcomes (ILOs), Supporting Goals, and/or Strategic

Initiatives of the institution are integrated into the goals of the program or service area. Broadcasting lends itself well to developing a student’s sense of self-confidence and self-

discipline to pursue their intellectual curiosities as outlined in ILO #1. Whether working in front of or behind a camera, students must learn to follow their interests, trust their instincts and develop the skills and habits to research (in both creative and traditional ways), develop a story, and present that story so that it is not only accurate and complete, but interesting and fair to a variety of audiences in multiple contexts. All this while working and collaborating with a

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diverse team of people with their own interests, goals, and ideas. In this too, students learn to contextualize their own activities and influence within the broader community and global contexts.

Courses in the Broadcasting discipline also focus on providing students with both a fundamental and practical understanding of mass media and media related issues. Toward that goal, each class continues to satisfy all or part of the department SLO to give students instruction that will enable them to demonstrate the ability to access, identify, analyze, evaluate and use information. This department SLO articulates with the ILO, Obtain the knowledge and skills necessary to access, evaluate, and interpret ideas, images, and information critically in order to communicate effectively, reach conclusions, and solve problems.

4. If your program receives operating funding from any source other than District funds identify the funding source. If applicable, note the start and end dates of the funding (generally a grant), the percentage of the program budget supported by non-District funding, and list any staff positions funded wholly or in part by non-District funds. Do not include awards for non-operational items such as equipment (ex. VTEA) or value added activities (ex Margin of Excellence).

NA

B. Populations Served.

Set #1

Discipline Broadcasting

1. Describe your students in terms of ethnicity, race, gender, age, residency status, citizenship, educational goal, enrollment status, and full/part-time status. Note any changes in student or enrollment data since the last six-year program review and the possible reasons for the changes.

As of Fall 2011 (the most recent available data from Institutional Research), Broadcasting boasts the following demographic breakdown:

SEX: Male: 50.2%; Female 49.8%. This marks a steady increase in female enrollment from our last 6-yr program review from 48.5%. We work hard to both outreach to young women and to create a climate of inclusiveness for women, and we are proud of the almost even proportion of male to female students given the industry’s historically male centric employment patterns.

AGE: Most of our Broadcast students (76.3%) are <25 years old. This gives us a younger average student age than that of the college (71.2%) at large. We have experienced a rather dramatic decline in students in the 30-39 age range—down to 6.1% last year from a high of 14.6% in 2007. During that same time period we saw increases in our lowest two age populations as noted above. This may be due to increased efforts to recruit younger students for Promo Pathway or a function the economic shifts nationwide. We will continue to watch this trend and investigate the causes as they relate to maintaining a diversity of not only sex and race, but of age as well.

RACE: We show a higher than average distribution of all reported racial categories than the college-wide percentages other than that of “Asian.” We have been particularly successful at recruiting and retaining “Black”

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(19.8%) and “Hispanic” (35.9%) students as compared to the College distribution of these categories (9.8% and 33.7% respectively).

RESIDENCY: The Residency make-up of our students is mostly consistent with the College percentages, although we show a slightly higher “Foreign” enrollment of 13.4% as compared to the College’s 10.7%. Although, this is most likely just a reflection of the normal enrollment fluctuations

ENROLLMENT: Broadcasting’s largest proportion of students are “Continuing” (55%) which is consistent with the college average (57.3%). We enjoy a slightly higher than college average of “First-Time” (24.3%) and “First-Time Transfer” (14.6%). This might be due in part to the “sexy” nature of broadcasting as a major for first time students trying to decide on what they will focus their studies. This might also explain the lower than College proportion of “Returning” students at a low of 6.1% as compared to 10.4% College-wide.

EDUCATIONAL GOAL & STATUS: Other than a higher than College proportion of “Transfer” students (77.8% to 71.6%) and a lower “Educational Development” proportion (1.8% to 5.3%), our distribution of educational goals is consistent with the College at large. Similarly, we have a slightly higher proportion of “High School Graduates” (88.4% to 84.5%) and a lower “Bachelor’s or Higher” (5.8% to 10.6%) as compared to the College. However, looking over time (the last 6 years) these seem to be normal fluctuations. We do enjoy a higher than College proportion of Full-time students (45.9% to 37.9%). This is consistent with our enrollment proportions overtime.

2. Compare your student population with the college demographic. Are your students different from the college population? Overall, the demographic make-up of the Broadcasting program shows tremendous diversity in terms of race

and gender. That is mostly consistent with the College demographics. We are lower than the College demographic in terms of Asian students and will look into what might be the reason for this discrepancy. We could improve our recruitment of older and returning students which would seem to be a natural fit as we are well positioned to assist with job training and placement as a CTE program. We will discuss with our advisory board, College staff and Workforce Development to develop a plan for improving our diversity in these areas.

3. What percentage of students in your program place in basic skills and, if applicable, how does this impact your program goals and/or curriculum?

BASIC SKILLS: Consistent with College proportions. 22.8% are in Basic Skills and 77.2% are not. This has little effect on our program goals and curriculum. However, it can make the writing components of some classes a bit more instructor intensive since to refine a story for broadcast requires a certain level of writing ability. Fortunately, our faculty are excellent at providing appropriate and supportive feedback in this regard.

C. Program Evaluation In this section programs/units are to identify how, what, and when program evaluation takes place and summarize the results from data collected. Please use Section D to address program responses to the findings described in this section.

Set #1

Program or Discipline: Broadcasting

1. Discuss how the program, discipline, support service or function evaluates its effectiveness. Include any changes to the evaluation process since the last six-year program review.

NA

2. Describe how the program, discipline, support service, function, administrative unit or service area engages all unit members in the self-evaluation dialogue.

As a small program (only three and a half full-time faculty members) within a diverse but interrelated department, we find it easy to collaborate on all aspects of our program both within the program and among the disciplines in the department. Department meetings, flex days, and project meetings are frequently scheduled to discuss program development, SLOs, and program goals within the department level SLOs.

3. Describe how and when the program, discipline support service or function assesses outcomes, sets and measures goals and objectives (annual or long range), and determines areas to target for improvement. Describe how the program uses Student Learning Outcomes (SLOs), Service Unit Outcomes (SUOs) or Unit Outcomes (UOs) assessment data to inform program planning and decision making. Based on the results of the SLOs assessed, instructors have adjusted their assignments to help students meet the objectives of the

course. For example, we currently have Professor Sara Brewer on sabbatical working on developing a Media Research ibook because this is the area she has found that students struggle with the most in Media 1.

Considering the data discussed throughout this report and in conversation with colleagues in our department, counseling and the students themselves, there is a definite need to serve our bilingual speaking students in our department. While we offer them UC and CSU transferrable courses in our program that are of great value to their academic success, their bilingual speaking abilities are also of great value to their professional future. It is the intention of our program, to help our students meet their academic goals while also preparing them for success in the professional arena.

4. What have your SLO/SUO/UO assessments revealed or confirmed since your last report? Overall, the Communication and Media Studies department has been working to update and clarify all of our course SLOs

especially in the area of Broadcasting since it has been brought under the umbrella of Media Studies. To that end, we found that some of the SLOs listed in CurricuNet and in ISIS either did not match up or had not been imported properly upon the merge of the programs. Since that discovery, we have corrected all SLOs and input the missing SLOs so that they can be properly included in the college generated SLO assessment reports through ISIS. Because of the earlier misstep, the Broadcasting course SLOs were not assessed within ISIS along with the rest of our department’s SLOs over the summer or fall of 2012.

However, within the Broadcasting program, the process of updating, clarifying and refining the SLOs to better represent the goals and objectives of each course has led to very productive conversations and significant collaboration among faculty. This has also helped us to identify classes that need updating to meet current industry needs, to create more uniformity in the content covered in the overview course and to clarify the types of classes we may want to develop in the future to fill gaps in the curriculum.

Going forward, we are set to assess all Broadcasting classes through the ISIS system at the close of the Spring 2013 semester and intend to use the results of that assessment as the basis of our Fall Flex discussions regarding program improvement.

5. What has available data from TIMS reports and/or the Institutional Research website, revealed or confirmed since the last six-year program review report? Include the following indicators, as appropriate: success, retention, number of AA degrees or certificates awarded, completion rates etc. Note trends, differences in performance by group (ethnicity, gender, age) or enrollment type (day/evening, on-ground/on-line). Please include relevant examples either in this section or as an appendix to this report.

http://www.smc.edu/EnrollmentDevelopment/InstitutionalResearch/Pages/Program-Review.aspx

Based on the data from the TIMS report and through the Institutional Research website, the Communication and Media Studies department has an overall retention rate of 88.9% that exceeds the College retention rate of 83.1% as of Fall 2012. This retention rate has been higher than the College’s average consistently since our last program review and beyond. For Broadcasting specifically, the retention rates for all the classes for the past three years range from a low of 70% for Media 48 to a high of 89% in Media 46 (2010-2012), but the overall retention rate for Broadcasting has been above the College rate consistently (2010: 86% to 84.3%; 2011: 86.9% to 85.2%; 2012: 88.9% to 83.1%). The remaining Media Studies courses (1, 2, & 10) consistently enjoy retention rates in the 90s! Similarly, the success rates for Media Studies, including Broadcasting (ranging from 66.6-76.5% over the past five years), surpass the college success rates (64.3-68.8% over the same five years) regularly. However, our successful completion rates for “Black” and “Hispanic” students has not been as consistently exceptional. Over the past five years, our success among these populations has dipped below the College averages four times for our “Black” students by up to 13.4% back in 2007. This was most likely an anomalous statistic as generally the discrepancy is slight. We will continue to observe this and make adjustments to address this concern.

6. If applicable, discuss any other information or sources your program used this year to assess effectiveness (such as surveys, CalPASS, job placement, transfer rates, observed trends, tutoring usage, etc.), what the information has revealed or confirmed, and how it factored into program planning and decision making. Please include relevant information/examples from these additional sources either in this section or as an appendix to this report. As of Fall 2012, according to our college data found on the Institutional Research webpage, 35.9% of our overall enrolled student

population is Latino. This not only is by far the largest ethnic group represented on our campus but, of these enrolled students, many are also bilingual Spanish-speakers. Institutional Research has also recently published a regional program demand report that forecasts the regional labor market needs in the area of marketing. This report indicates that there is a great opportunity for our college to expand its program offerings in this area. Additionally, according to our Program Review statistics, as of Fall, 2011 19.5% of our students are international students. From this information and from additional academic research we recognize the increase in flows of global media. Including a global media course will improve the Media Studies program by expanding the scope of study beyond the US context. This will better reflect current trends in media and will appeal to the interests of our students. Lauren Movius has applied for a fellowship for the Fall of 2013 to develop the first global media course.

Over the past year this knowledge has motivated myself, my fellow colleague, Frank Dawson, and the Dean of Workforce and Economic Development, Patricia Ramos, to move forward in outlining and conducting the preliminary research for developing the first Spanish-language Media Certificate program at a two-year institution. More recently, I have applied for a sabbatical to continue developing a certificate program to help meet the demand for a domestic skilled workforce in Spanish-language media and offer our students a much-needed pathway to entry-level positions in an industry that has traditionally been extremely challenging to break into.

7. If applicable, discuss achievement rates on state licensure exams.

NA

8. Career Technical Education (CTE) programs are required to have active industry advisory boards which meet at least once a year. (Attach minutes from each meeting since the last program review report). List advisory board membership, how often it meets, and indicate involvement with the program. Please attach minutes from the most recent advisory board meeting as an appendix to this report.

Currently only the Broadcasting portion (see below) of Media Studies has an advisory committee since the Spanish Language/Global Media program is just in the preliminary development stage. However, it is important to note that Maria Munoz is interviewing Spanish-language media executives to find out more about the industry’s academic and training needs and, in the process, have also asked for their participation in the development of an advisory board.

List of Members of the Broadcasting Advisory Committee

Frank R. Dawson, Professor & Chair, CTE Committee, Santa Monica College

Patricia Ramos, Dean, Workforce & Economic Development, Santa Monica College Nancy Grass Hemmert, Chair Communication and Media Studies Department, Santa Monica College Maria Munoz, Associate Professor, Media Studies, Santa Monica College Sara Brewer, Professor, Media Studies, Santa Monica College Lauren Movious, Associate Professor, Santa Monica College Gary Engel, VP On-Air Media Planning and Strategy, A + E Television Networks Robert DeFrank, VP Human Resources, A&E Television Networks Robert Mendez, SVP of Diversity, ABC Entertainment Marla Provencio, EVP Marketing, ABC Entertainment Robert Battles, SVP Creative Services, AMC Networks Vicky Free, Chief Marketing Officer, BET Matt Hernandez, Creative Director Promo Animation, CBS Corporation Brad Roe, VP and Creative Director On-Air Promotion, CBS Television Network Steve Bushong, SVP Marketing Operations, Disney/ABC Television Group Bear Fisher, SVP Creative Director, Style Ruth Anne Herman, SVP Human Resources, FOX Rob Gottlieb, SVP/Creative Director, Fox Sports Tim Nolan, SVP Marketing Creative and Brand Strategy, Lifetime Television Juan Herrera, VP Office of Global Inclusion, MTV Networks Dave Dore, SVP/Creative Director, NBC Entertainment Kathy Mandato, SVP Human Resources, NBC Entertainment Susan Solano Vila, EVP Marketing, NBC Universal Neils Schuurmans, EVP Brand and Marketing, SPIKE Arthur Evans, Director Global Diversity, Turner Broadcasting System, Inc Lisa Gregorian, EVP Worldwide Marketing, Warner Brothers Television Group Karen Miller, SVP Creative Services, Warner Brothers Worldwide Television Marketing 9. Describe any program response to advisory board recommendations. Give specific examples. The program is designed around recommendations and input from the Advisory Committee, but as it is a new program, we have not received any feedback for change as of yet. We have, however, received tremendous positive feedback for the direction the program has thus far taken.

D. Program Improvement In this section, please document what you did last year as a result of what you described in Section C and what you are planning to do for the coming year.

Part 1: Looking back

In this section, please summarize your response to last year’s planning efforts.

1. Note the status of the previous year’s objectives.

2. List accomplishments, achievements, activities, initiatives undertaken, and any other positives the program wishes to note and document.

In May of 2010, Santa Monica College, PromaxBDA, (the leading global association for marketing, promotion and design), and the South Bay Center for Community Development entered into a partnership to develop a contract education training sequence designed to diversify the entertainment promotion and marketing workforce and create a pool of trained, creative talent. Together, the three partnering organizations launched a “Promo Pathway” pilot in January 201. This innovative program serves as the first industry supported academic training vehicle designed to arm students with a fundamental knowledge of entertainment marketing by preparing them to write, produce and edit promotions for the broadcast television, cable and web

entertainment industry. The pilot also allowed the proposed program an opportunity to test its curriculum and training’s relevance to the needs of the entertainment promotion and marketing industry.

In January of 2012, the initial cohort of 25 students completed the program and were awarded a Certificate of Completion from PromaxBDA after successfully navigating a rigorous 10 course 30 unit cycle at Santa Monica College (SMC). Fifty-five percent of the students now work in full-time positions as production assistants, coordinators, junior writer producers and associate producers. Another 25% of the students are completing degree requirements at SMC, studying at four year universities and/or serving as media industry paid interns. The second cohort of 25 students began study in Summer 2012 and will complete their cycle in Summer 2013.

The broadcasting program also utilized the “Flypack” mobile studio package to videotape various performances by the SMC theatre department in 2011/2012. Media 46 instructor Gail Fetzer, assisted by Broadcasting Lab Assistant Brad Lemonds, supervised a crew of students who operated the cameras, audio, and video switcher during the theatre performances at the Main Stage on the SMC main campus. In Spring 2011, the Media 46 class videotaped two men’s and two women’s home basketball games at the SMC Pavilion. Students from Media 15, the Sportscasting class, provided the play-by-play and color announcing as well as half-time interviews with the team’s Coaches. The students from both classes were able to gain valuable production experience, and the Coaches appreciated both the value of the videotapes to analyze their team’s performance, and the professional atmosphere created by the taping.

Broadcasting faculty are also involved in exploring the possibility of developing additional career pathways in the area of Information, Communication and Technology (ICT). Toward that end several professional development activities have been pursued. Conferences and meetings attended include:

1. Ciudad de Ideas, Puebla and Mexico City, Mexico 2. AACC Workforce Development Conference, Miami, Florida 3. Meeting with Beijing Film Academy, Beijing, China 4. Meeting with Communication College of China, Beijing, China 5. Meeting with Goodwill Industries Training Development, Los Angeles, CA 6. Meeting with Youth Radio, Oakland, California 7. National Media Reform Conference, Boston, MA 8. PromaxBda National Conference, Los Angeles, CA 9. Clinton Global Initiative (CGI) Invitee, Chicago, Ill (June 2013)

3. Summarize how the program or service area addressed the recommendations for program strengthening from the executive

summary of the previous six-year program review. NA

4. Describe any changes or activities your program or service area has made that are not addressed in the objectives, identify the factors that triggered the changes, and indicate the expected or anticipated outcomes.

NA

5. If your program received one time funding of any kind, indicate the source, how the funds were spent and the impact on the program (benefits or challenges).

NA

6. Describe any grants, VTEA, or other funding received since the last review [in the past year] and how it was used to improve the program.

NA

7. If applicable, note external factors that impacted the program (e.g., licensure requirements, state or federal requirements, CCCO mandates, regulations, etc.), and any changes the program made as a result.

NA

8. Describe faculty engagement in activities, training, or professional development to remain current with industry trends. (see department overview)

9. Describe departmental efforts to improve the teaching and learning environment. NA

10. If there is a tutoring component or other learning support service associated with the program, describe the relationship between the service(s) and the instructional program. If applicable, discuss any data you have compiled regarding student participation and the impact on student success.

NA

Part 2: Moving forward

In this section, please indicate what your plans are for the coming year(s).

11. Discuss and summarize conclusions drawn from data, assessments (SLO, SUO, UO), or other indicators identified in Section C and indicate any responses or programmatic changes planned for the coming year(s).

NA 12. List the objectives or target goals your program or service area has identified for the coming year. Indicate the number of

objectives identified. __1__ Use the comments section to indicate the reason for the objective (assessment results, changes in data, changes in external factors, etc.). Indicate how each objective or goal links to the division goals. Boxes for reporting three objectives have been included here. Please copy and insert boxes if additional objectives are proposed.

Objective 1:

In the coming year we will partner with Youth Radio of Oakland, CA to establish a similar program in Santa Monica that prepares High School students for entry into diverse career pathways in the Media Industry through focused activities developed by SMC faculty and staff in an after-school setting.

Area/Discipline/Function Responsible: Broadcasting/Media Studies Assessment Data and Other Observations: SLO Assessment Data and/or SUO Assessment Data and/or UO Assessment Data

TIMS Report Data Institutional Research Data

Other data or observed trends (briefly describe in the comments field below)

External Factors: Working with Youth Radio in Oakland, Ca.

Program Review Committee Commendation

Program Review Committee Recommendation

Program Review Recommendation for Institutional Support

SMC Strategic Initiative (indicate specific initiatives in the comments section below)

SMC Master Plan for Education Objective #___

Advisory Board Recommendation (for CTE only)

Other Factors (briefly describe below):

Timeline to accomplish the objective: One year

Describe how objective will be assessed/measured: TBD

Comments: Partners are currently establishing parameters and Project to be further developed/evaluated during the Clinton Global Initiative session in June.

E. Community Engagement

1. List the engagement of program members in institutional efforts such as committees and presentations, and departmental activities. • Professional Development Committee • Academic Senate • Club Advising (Future Alumni, PASU) • Course Development and Updates • Technology Training • Outreach to Potential Students (USC Trio Educational Talent Search Program) • Journal Review (Journal of Computer-Mediated Communication, Critical Arts, International Journal of Communication) • National and International Association Memberships and Conference Attendance (National Communication Association,

International Communication Association, Console-ing Passions Conference on Television, National Hispana Leadership Conference, etc.)

2. If applicable, discuss the engagement of program members with the local community, industry, professional groups, etc.) In the Spring semester of 2012, the Media 46 class, “Television Studio Production” began a collaboration with Santa Monica City TV. The broadcasting program had been without an industry partner who could provide television production studio facilities since the closing of Time-Warner Cable’s Public Access studio in December, 2009. The collaboration allows SMC students enrolled in the course to serve as production crew members for City TV’s program producers, operating the cameras, lighting, sound equipment, studio switcher, graphics generator and all other production positions including director. The students also produce their own class project assignments at the City TV studio, and the programs air on one of City TV’s public channels. The class is taught by adjunct instructor Gail Fetzer, with technical support from City TV personnel. Gail formerly headed production at Time Warner Cable’s Public Access Studio and has had a relationship with SMC’s studio production classes since 2000 when the facility was operated by Adelphia Cable. In addition, City TV provided their remote production truck and engineering personnel on 3 separate occasions for the videotaping of theatre productions and a football game on the SMC campus. (see program improvement section)

F. Future Trends, Program Planning, Conclusions and Recommendations The following items are intended to help programs identify, track, and document unit planning and actions and to assist the institution in broad planning efforts.

1. Present any conclusions and recommendations resulting from the self-evaluation process. We are proud of the work developing our Promo Pathway program over the past two years while still maintaining our excellent broadcasting offerings. In the next few years, we would like to continue to grow Promo Pathway and our other broadcasting programs such as radio, sports, and TV broadcast programs. However, most of our needs at this time are financial and human resources related, so in the absence of institutional support we intend to continue expanding our programs in as many cost efficient ways as possible while seeking additional funding sources.

CURRENT TRENDS, PLANNING, RECOMMENDATIONS

2. Identify any issues or needs impacting program effectiveness or efficiency for which institutional support or resources will be requested in the coming year. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request support or resources through established channels and processes]. Currently, we have only ½ assigned full-time faculty member handling ALL Broadcasting related work. This is neither

sustainable nor practical. With no less than three sub-program areas (radio, TV, and sports broadcasting) along with Promo Pathway, we are finding it challenging to adequately support each area of the program without relying on the volunteer hours of our

part-time faculty and the “overtime” hours of our one, half-assigned full-time faculty member. These are very popular programs that lead to high paying work for our students in an industry that lives in SMC’s backyard. Additional full-time faculty and lab support are critical for not only growing the program to continue to meet industry needs and demands, but to simply maintain our excellence without exhausting those who have been generous enough to build the program into the powerhouse that it has become in the first place.

3. If applicable, list additional capital resources (facilities, technology, equipment) that are needed to support the program as it currently exists. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request resources through established channels and processes].

As is the case with our film program, broadcasting is in need of additional lab support. Currently we have one lab technician, Brad Lemonds, who does a tremendous job supporting our wide variety of broadcasting classes as well as providing support for college-wide interests such as filming athletic games and theater productions. However, we have been instructed to limit Mr. Lemonds hours to under 40 which is virtually impossible if we are to still offer our students a professional training experience. An additional lab person would give us the support we need and allow the lab to open more hours while students can also have real-life broadcasting experiences out in the field. With only one lab support person, we have to choose between the two constantly.

4. If applicable, list additional human resources (staffing, professional development, staff training) needed to support the program as it currently exists. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request resources through established channels and processes].

As noted earlier, broadcasting is in need of additional lab support. Currently we have one lab technician, Brad Lemonds, who does a tremendous job supporting our wide variety of broadcasting classes as well as providing support for college-wide interests such as filming athletic games and theater productions. However, we have been instructed to limit Mr. Lemonds hours to under 40 which is virtually impossible if we are to still offer our students a professional training experience. An additional lab person would give us the support we need and allow the lab to open more hours while students can also have real-life broadcasting experiences out in the field. With only one lab support person, we have to choose between the two constantly.

FUTURE TRENDS, PLANNING, RECOMMENDATIONS

5. Projecting toward the future, what trends could potentially impact the program? What changes does the program anticipate in 5 years; 10 years? Where does the program want to be? How is the program planning for these changes?

The future of digital media is very difficult to predict 5 to 10 years in the future as technology continues to evolve at an ever quickening pace. Telephone companies now offer television services; cable television companies now offer telephone and internet services; internet companies now offer television and telephone services. Future distribution platforms and terminology associated with this industry and field of study are dynamic and difficult to ascertain. One constant, however, is the need for competent writers and storytellers and we will continue to emphasize this aspect of our program. Our move to the new AET campus will also allow for greater synergy between the live action focus of our media production courses and the animation/motion graphics capabilities taught in the design program at the AET.

6. If applicable, list additional capital resources (facilities, technology, equipment) that will be needed to support proposed changes. The broadcasting program will be moving to the AET site when the building and renovation project is completed there. Facilities, technology and equipment have been proposed as part of the planning process.

7. If applicable, list additional human resources (staffing, professional development, staff training) that will be needed to support proposed changes.

The program is in dire need of additional full-time faculty to help shoulder the responsibility of program planning, development, assessment, evaluation, etc. The broadcasting program currently has ½ full-time faculty members, and despite its growth in the number of students served, that number has remained constant for at least 15 years. There is also a need for additional lab technician support.

8. If applicable, note particular challenges the program faces including those relating to categorical funding, budget, and staffing.

9. Please use this field to share any information the program feels is not covered under any other questions.

Two Year CTE Report: Film Studies

Program Review: Film Studies

Program Information

Program Name: Film Studies

Academic Year: 2012/13

Program Contact:

Critical Film Studies: Josh Kanin, x4588

Film Production: Salvador Carrasco, x3766

Program Type

X Instructional X Career Technical Education

□ Student or Instructional Support

□ Administrative Service Review Period

□ 6 year

X Annual A. Program Description and Goals

1. Describe the program and/or service area under review and how the program supports the mission of Santa Monica College. (1 & 6 yr) Since the last program review, Film Studies as an academic discipline within Santa Monica

College’s Communication & Media Studies Department has continued to grow and expand to include a hands-on film production side. There are currently 13 faculty teaching in the Film Studies area – 11 adjunct faculty, and two full-time faculty. The critical studies/academic side of the Film program is led by long-time Film faculty member, Josh Kanin. The Film Production/CTE side is led by our new full-time faculty member (since our last program review), Salvador Carrasco. Prof. Carrasco came to SMC from the world of professional feature filmmaking and previously taught at USC, Pomona College, SMC, and The Los Angeles Film School, where he led the Advanced Directing Program.

Enrollment is at an all-time high, averaging 35 students per section, with several sections of courses having reached enrollments of over 75. Currently, the critical studies-based courses include film aesthetics and theory, film history, genres, great filmmakers, cultural and gender studies, to name a few. Our production course offerings have and continue to grow, boasting classes in scriptwriting, production planning, digital filmmaking, and directing. In a typical semester there are 23 sections of Film Studies classes being offered, with over 1000 students in them, and the student demand is growing for these classes with every passing year.

In addition to the demand for Film Studies’ courses, the program also includes opportunities for students, both hobbyist filmmakers and future Oscar winners. From the filmmaking club to opportunities to participate on a real film crew producing competitive quality shorts to our expanding internship

relationships and throughout our burgeoning course offerings, SMC’s film program offers students a chance to explore, learn, and train in film theory and film production.

As part of the SMC family, the Film Studies program fulfills the Santa Monica College mission by providing access to a film education heretofore reserved for only the most elite schools and universities. Students thwarted by money, wrong turns, or life challenges from gaining a film school education can explore the realities and gain practice in the intricacies of a film career in a safe, inclusive, and affordable environment. At the same time, the critical study of film aesthetics, history, culture and gender representations, encourage students to develop an appreciation for their position and role in our diverse and multi-dimensional world.

Our emerging Film Production Program is fast becoming a reality, and much has been accomplished in

our first two years, but obviously there is still a long, challenging, exciting road ahead of us. All will be discussed in detail throughout the present program review, but in a nutshell, here are some highlights of what we have accomplished in our emerging Film Production Program in the last two years: • Implementation of a 3-course film production sequence: Film 31 (Beginner), 32 (Intermediate), and 33

(Advanced), which has increased both enrollment and retention in our film program. • Creation of two new courses: “Film 33: Directing the Short Film” and “Film 40: Cinematography.” • “Graduates” of our 3-course film production sequence successfully transferring to the best film schools in the

country, such as USC, NYU, and UCLA. • Creation of SMC Film Program website, which now has over 30,000 hits and has been viewed in more than 80

countries around the world. • Completion of nearly one hundred Film 32 projects, 75 of which have been posted on our website. • SMC students hired for paid industry jobs and recruited for internships primarily by giving links to their film

work that appears on our website, and following up with interviews in which they put into practice the “soft skills” we are teaching them in class.

• Production of 6 Film 33 short films; the first one completed (the prototype), Dustin Brown’s “Becoming,” has been accepted into five prestigious film festivals so far.

• Creation of Industry Advisory Board, featuring prominent and active members from the Hollywood Film Industry.

• Visits to campus and in-depth dialogue with our students by prominent directors like Oliver Stone, Chris Weitz, Christine Choy, etc.

• Tenfold increase of our film production equipment through Perkins funds, all of which is housed in our new equipment room at AET.

• Co-production between SMC and China’s largest official State-owned television company, CCTV, of Qian Zhao’s documentary “Wudang.”

2. Identify the overarching goals or charge/responsibilities of the program. If appropriate, include ensuring/monitoring compliance with state, federal or other mandates. (1 & 6 yr)

The Film Studies Program works toward fostering: • successful preparation for student transfer to four-year colleges, and • successful preparation for future careers in the motion pictures industry.

For those students who cannot afford to attend costly university-based film schools and/or who cannot get into them, the Film Studies program provides a complete education in critical film studies and digital film production. Upon graduation from the program, students have acquired the necessary skills to establish careers in the motion picture industry. Most of our graduates secure entry-level jobs in this multi-faceted industry that lead to advancement in a wide variety of production areas. Considering the fact that many production companies are now based on the Westside of Los Angeles, this is an added

plus for SMC’s film graduates. In fact, there are graduates of the program who are already interning with many of these production companies.

Our five year goal is to create a complete film production degree program that rivals any of the major film school programs in Southern California to offer budding filmmakers a low-cost alternative to the more costly programs. Additionally due to the high demand for our Scriptwriting courses (Film 20 & 21) both for transfer to CSUs and for professional script consideration, we plan to fully develop our scriptwriting course offerings.

As always, we will continue to bring in more film industry professionals to interact with our students in special seminar programs. We have had guest speakers visit our classes to offer advice and discuss the inner workings of the motion picture business. These have included agents, screenwriters, producers, directors, actors, cinematographers, film editors and film critics. We have also brought in high profile filmmakers for screenings and talks that are open to the college at large.

3. If applicable, describe how the Institutional Learning Outcomes (ILOs), supporting goals, and/or Strategic Initiatives of the institution are integrated into the goals of the program or service area. (6yr-N/A)

4. If your program receives operating funding from any source other than District funds identify the funding source. If applicable, note the start and end dates of the funding (generally a grant), the percentage of the program budget supported by non-District funding, and list any staff positions funded wholly or in part by non-District funds. Do not include awards for non-operational items such as equipment (ex. VTEA) or value added activities (ex. Margin of Excellence). (1 & 6 yr)

Other than District funds: film production only receives funding that we are being asked NOT to include here namely CTEA and Margin of Excellence awards.

B. Populations Served

Set #1 Discipline: __Film Studies__ 1. Describe your students in terms of ethnicity, race, gender, age, residency status, citizenship,

educational goal, enrollment status, and full/part-time status. Note any changes in student or enrollment data since the last six-year program review and the possible reasons for the changes. (1 & 6 yr)

Our student population reflects the college demographic in terms of ethnicity, race, age, residency status, citizenship, educational goal, enrollment status, and full/part time status. However, we are extremely pleased that in our current SMC Film Production classes, 40% of the students are women, which is significantly higher than the percentage of female representation in the motion picture industry. According to Dr. Martha Lauzen of San Diego State University (the guru of statistics about women in Hollywood), in her latest “Celluloid Ceiling” survey, she shows that women make up only 15% of directors, producers, writers, cinematographers, and editors in Hollywood. This appalling number is down three points from 2001. As an antidote to this, consider the film that was produced in our advanced Film 33 class last semester, "I'll Take Care of You," which featured three female students in the key positons of director, producer, and line producer. Furthermore, these students formed a production company, "I'll Take Care of You Productions," and intend on continuing to work together after they

graduate from SMC.

Our department is committed to aggressively increase across the board participation in film production by providing our students with an intensive filmmaking education that makes no gender, class, or ethnic distinctions. Aside from this, foreign student participation has increased in the film classes as our film production program grows. For example, we hosted a Film 32 and Film 33 Showcase of Short Films on December 6, 2012 consisting of 15 projects in which students from different countries participated, including Bosnia, Bulgaria, China, Colombia, Hungary, Israel, Italy, Korea, Lithuania, Mexico, The Netherlands, The Philippines, Russia, El Salvador, Sweden, Thailand, Turkey, and USA.

2. Compare your student population with the college demographic. Are your students different from the college population? (6 yr-)

N/A

3. What percentage of students in your program place in basic skills and, if applicable, how does this impact your program goals and/or curriculum? (6 yr-)

N/A

C. Program Evaluation Set #1 Discipline: __Film Studies__

1. Discuss how the program or discipline evaluates its effectiveness. Include any changes to the

evaluation process since the last six-year review. (6 yr-) N/A

2. Describe how the program or discipline engages all unit members in the self-evaluation dialogue. (6 yr-)

N/A

3. Describe how and when the program or discipline assesses outcomes, sets and measures goals and objectives (annual or long range), and determines areas to target for improvement. Describe how the program uses Student Learning Outcomes (SLOs) assessment data to inform program planning and decision making. (6 yr-)

N/A

4. What have SLO assessments revealed or confirmed since your last report? (1 & 6 yr) During the 2011-2012 school years, we assessed SLOs in the following film production courses:

• Film 32: Intermediate Digital Production – SLOs assessed through the production and post-production of 3-5 minute, self-contained scenes that are filmed in class and posted on our SMC Film Program website.

• Film 33: Advanced Digital Production – SLOs assessed through the production of full-fledged short films based on original screenplays written by the students.

We used the information obtained from the 2011-2012 assessment to make minor changes and adjustments for the current school year. These changes are reflected on the syllabi, which we revise every semester. Also, we take into consideration student evaluations, which often show where students

feel strongest (or not) in terms of SLOs, which also allows us to do “reality checks” and make adjustments for the following semester. In our experience, students provide invaluable feedback in terms of SLO assessment.

The Film Program definitely takes SLOs into account. Re. production courses, not a week goes by in which we do not make concrete decisions and adjustments, especially since film production is still an emerging program at SMC.

Specific Examples:

• Film 32 – The way this class was being taught, we felt that students were not really showing proficiency in script interpretation and breakdown. Therefore, we made the following change: Instead of filming their own material, now students have to work on a professional, preexisting script (e.g., “Casablanca”), which they need to appropriate, deconstruct, and film. This process has ensured that they meet the SLO of demonstrating advanced proficiency in script interpretation.

• Film 33 – To ensure that students break down all their scenes and generate directorial prep materials, we instituted a “green lighting” process, which essentially means that they have to submit and get approval on all their prep materials before they can film a single foot of film. Consequently, SLOs are being met and films have a higher level of quality.

N.B. We also came up with SLOs for a new class, Film 40: Cinematography, in consultation with our Film Advisory Board, and there was much agreement about what those objectives should be. Based on the SLOs, we created the new class; in other words, we came up first with the SLOs and then with the curriculum for the new class.

Finally, as a result of our SLO assessment discussions, we decide what the priorities are for our CTE Perkins application. So far we have bought more than $100,000 worth of equipment that directly correlates with demonstrating advanced skill levels in filmmaking techniques. This particular funding allowed us to turn the film production concept into a reality, for there can be no production without tangible infrastructure.

In addition, Prof. Carrasco went to China in the summer of 2012 as part of a professional development program, which also contributed to the concrete implementation of certain SLOs. For example, for Film 2: History of International Cinema, we invited Chinese filmmaker Christine Choy to SMC, which took to another level the goal of “compare and contrast major film artists, their contributions in style, technique, and themes.” In addition, for both the Film 32 and Film 33 production classes we were able to compare the use of digital production equipment, emphasizing high-definition (HD) technologies, between The Beijing Film Academy (one of the top film schools in the world) and Santa Monica College.

5. What has available data from TIMS reports and/or the Institutional Research website, revealed or confirmed since the last six-year program review report? Include the following indicators, as appropriate: success, retention, number of AA degrees or certificates awarded, completion rates etc. Note trends, differences in performance by group (ethnicity, gender, age) or enrollment type (day/evening, on-ground/on-line). Please include relevant examples either in this section or as an appendix to this report. (1 & 6 yr)

The successful course completion rates in Film rank above college-wide rates and have shown a steady increase over the last six years.

2007 2008 2009 2010 2011 Film 70.7% 66.6% 74.7% 73.4% 76.5% Department 73.0% 75.5%% 77.2% 79.7% 81.3% College-Wide 64.3% 65.1% 66.7% 68.2% 68.8%

Likewise, the course retention rate in Film ranks slightly above our college-wide rate, and has also shown an upward trend in the past few years. 2007 2008 2009 2010 2011 Film 81.5% 87.5% 87.7% 89.6% 88.6% College-Wide 81.3% 81.6% 83.3% 84.3% 85.2%

We are now in the process of creating a Certificate Program in Film Production, which is being designed to include a greater number and wider variety of pre-production, production, and post-production courses that will more fully train students in all of the various arts and crafts necessary for a fully-rounded professional filmmaker to embark on a career in the motion picture production industry. Consequently, a greater number of students will be trained in different technical areas of the filmmaking craft —both above-the-line (directors, producers, writers) and below-the-line (grips, gaffers, camera operators, cinematography assistants) crew positions. Because our students will be trained to master a greater number of job skills in the motion picture production process, this will lead to more students wanting to complete the current A.A. degree in Film Studies —a degree that has always been well respected by motion picture employers. With the addition of our new Film 40 cinematography class and the growing popularity of our 3-course sequences in the areas of both digital production and screenwriting (the latter currently in development), we will undoubtedly increase the numbers of students who remain enrolled in our program prior to transferring to leading film schools such as those at UCLA, USC, AFI, and NYU. In addition, with the creation of our Certificate Program in Film Production, our students will earn industry-recognized credentials that will open up a greater variety and an increasing number of job opportunities for them.

6. If applicable, discuss any other information or sources your program used this year to assess

effectiveness (such as surveys, CalPASS, job placement, transfer rates, observed trends, tutoring usage, etc.), what the information has revealed or confirmed, and how it factored into program planning and decision making. Please include relevant information/examples from these additional sources either in this section or as an appendix to this report. (1 & 6 yr)

Although it is difficult and not always possible to determine the impact that our Film Studies program has had on our students, we know that many of them have become professionals in the field of screenwriting, producing, and directing. Some have become executives at large companies, agents, readers, and production facilitators. Many students will take the courses we offer in order to gain insight into the goals and problems a writer can encounter in order to better facilitate a production company, development deal, or a directing assignment.

It is important to note that the emerging film-production program, many of our students transfer to the best film schools in the country (NYU, USC, AFI, UCLA) after having earned an A.A. degree or with transfer track coursework satisfaction at SMC. They often use their class efforts as part of their portfolios for entrance into these top film schools. For example, in Spring 2012, at least four of our film students were accepted into the two most prestigious film-production programs in the country, USC and NYU: Mary Brown-USC; Lauren Dunn-USC; Ariane Friedman-NYU; and Rui Hu-NYU.

7. If applicable, discuss achievement rates on state licensure exams. (1 & 6 yr) N/A

8. Career Technical Education (CTE) programs are required to have active industry advisory boards

which meet at least once a year. (Attach minutes from each meeting since the last program review report). List advisory board membership, how often it meets, and indicate involvement with the program. Please attach minutes from the most recent advisory board meeting as an appendix to this report. (1 & 6 yr)

Our Film Production Advisory Board consists of prominent and active members of the

Hollywood motion picture industry, all of whom have remarkable credits and extensive professional filmmaking experience:

• John Hora A.S.C. is an award-winning American cinematographer active from the 1970s to the present. Mr. Hora worked with director Joe Dante in numerous films, including “The Howling” in 1981, “Twilight Zone: The Movie” in 1983, “Gremlins” in 1984 and its 1990 sequel, “Gremlins 2: The New Batch, Explorers” in 1985, and “Matinee” in 1993. He also served as a cinematographer for Michael Jackson's 1988 film “Moonwalker” and for the pilot for the television series “Eerie, Indiana.”

• Gabrielle Kelly - Born in Ireland, educated in England with a BA in American Studies from the University of Sussex, and an extensive filmmaking career in the USA, Ms. Kelly is a screenwriter and producer of diverse content for the global marketplace who also teaches in international labs and film programs. She is the recipient of two Fulbright Awards: one in screenwriting at TNUA, Taiwan and the second as writer/mentor in the screenwriting/producing Lab for the ASEAN Independent Cinema Project in the Philippines.

• Gary Wagner – Cinematographer, ICG member, digital video specialist. Having worked in the motion picture industry for over 25 years, Mr. Wagner has photographed feature films, television programs, documentaries, experimental films, music videos, and over 200 television commercials. He collaborated with director Salvador Carrasco as Director of Photography of The Twilight Zone’s 2010 episode, A Piano in the House.

• Alvaro Domingo – Film producer, co-founder of Carrasco & Domingo Films, son of world-renowned opera star Plácido Domingo.

• Mark Warner – Oscar-winning film editor (“Driving Miss Daisy,” “Double Jeopardy,” among many others).

http://en.wikipedia.org/wiki/American_Society_of_Cinematographers

http://en.wikipedia.org/wiki/United_States

http://en.wikipedia.org/wiki/Michael_Jackson

• Caren Bohrman – Considered one of the top Hollywood agents, Ms. Bohrman has been instrumental in shepherding over 200 scripts into produced pictures, including: “The Fugitive,” “Warlock,” “Crazy/Beautiful,” “Buckaroo Banzai,” “The United States of Leland” and “Beautiful Boy”; as well as in securing the US theatrical re-release of the widely acclaimed Mexican historical drama, “The Other Conquest.”

(N.B. Sadly, Caren died recently but we have already found a deserving replacement for her please see below.)

• Sergio Guerrero – Award-winning film director of over 3,000 commercials, including the worldwide renowned Corona beer commercials. On February 28, 2013, his company IndiEye Productions and SMC’s Film Production Dept. signed an agreement to produce a commercial together for the Spanish soft drink “Sidral Mundet.” SMC students will be hired for this shoot, and should the spec be selected by the agency Novamex, SMC Film Production Dept. will receive a $5,000 grant and the SMC team of 6 students will be paid $2,500.

The major issues and trends that our Film Production Advisory Board has raised over the last

several meetings have to do with the fact that filmmaking has become a global enterprise that demands that production students learn, practice, and hone their craft in a way that has worldwide relevance and meaning. Due to the possibility of acquiring high-end equipment at affordable prices and the tremendous scope and exposure offered by the Internet, more student films are now being produced than ever before, but by the same token, more “low-standard, easily forgettable, dismissible” product is also being generated. To be noticed, our students’ films have to excel in terms of their content and technical proficiency.

Consequently, our Advisory Board has strongly urged us to raise the bar in terms of the quality of the student films produced at SMC and create a Certificate Program in Film Production. All the members have stressed how important it is for our students to learn the craft of filmmaking thoroughly and receive a well-rounded film education that combines the methodical acquisition of technical skills and artistic growth. Our Advisory Board strongly believes that by making professional-looking films that can actually be used as “calling cards,” our students will increase their chances of achieving the following goals:

a) Transfer to prestigious academic institutions specializing in film production (NYU, USC, UCLA, AFI, etc.) after having earned an A.A. degree or with transfer track coursework satisfaction; b) Apply for jobs in the motion picture industry in a wide range of positions that will serve this rapidly growing job market at its two fundamental levels: above-the-line (directors, producers, writers) and below-the-line (grips, gaffers, operators, assistants); c) Have their SMC-produced films be accepted into high-profile film festivals that will give our student filmmakers valuable exposure of their work to industry professionals. This, in turn, can lead to opportunities for entry-level jobs in the motion picture industry that can set our students on the path to having successful careers in the motion picture industry.

9. Describe any program response to advisory board recommendations. Give specific examples. (1 & 6

yr) In response to our Film Production Advisory Board recommendations, we have acquired state-

of-the-art film production equipment (via Perkins funds) and have implemented the necessary infrastructure to achieve the following goals:

a) Our instructors simulate in our classrooms the actual working conditions of functional film production soundstages. This way, when our production students are hired to work in

the motion picture industry, their transition from the classroom to a professional set is seamless. b) Students are taught and encouraged to master technical skills in the main areas of film production —directing, camera operation, lighting, gripping, gaffing, and sound recording. The film production equipment we have acquired via Perkins funds is geared towards providing our students with the highest level of technology and equipment that makes it possible for our instructors to train them with congruency regarding industry equipment standards. c) Students are taught how to make films that have the professional look and qualitative standards that are expected by employers in the competitive world of high-wage and high-demand film industry occupations. d) Our Department of Communication/Film Production area is developing a tangible infrastructure that is already conveying to Hollywood’s motion picture industry the reality of SMC’s emerging Filmmaking Program. With the committed support of our Advisory Board, we have invited leading industry professionals —renowned directors, producers, studio executives, and vendors who have donated to other film schools in the past— to visit SMC so we can show them our production facilities and a selection of well-crafted and artistically accomplished films that have been produced by our students, with the intention that they support our efforts and contribute to our growth and development. To name only the most recent ones:

• OLIVER STONE - the legendary film director, winner of 3 Oscars. • CHRIS WEITZ - Oscar-nominated film director of box-office record-breaking "Twilight" movie. • CHRISTINE CHOY - Oscar-nominated filmmaker and head of NYU's graduate film program. • BILL HOY - Oscar-nominated editor of "Watchmen," "300," "Dances with Wolves," etc.

In short, our dream for SMC’s Film Production Program is that our students can have access to the resources that traditionally could only be experienced in private institutions, and that our community-college students can start making films that in technical skill rival the best films produced at university film programs like those at USC and NYU. As an added bonus, due to the incredible diversity of our student population with regard to cultural background and ethnicity, the stories that are told by SMC's filmmakers may very well go unrivaled when it comes to their human dimension and social impact.

D. Program Improvement Part 1: Looking back In this section, please summarize your response to last year’s planning efforts.

1. Note the status of the previous year’s objectives. N/A

2. List accomplishments, achievements, activities, initiatives undertaken, and any other positives the program wishes to note and document. (1 & 6 yr)

Since in our last program review in 2009, as a result of changing technologies and the demand

for highly skilled film/video artists in the world of professional filmmaking, we have expanded the digital filmmaking side of our Film Studies program. With the establishment of digital filmmaking training at SMC, students can now elect to be schooled in the entire filmmaking process – from script to screen. It is possible for digital filmmaking graduates to be able to leave SMC with a completed film, which can help

them gain entry to prestigious upper-division level film schools or serve as “showcase” films in competitions and film festivals throughout the U.S. Our digital filmmaking curriculum is now a professional filmmaking training program that provides students at SMC with an alternative to expensive film school and trade school programs such as those offered by UCLA, USC, Columbia College and the Los Angeles Film School. For those Film Studies majors who succeed in getting into upper-division level film schools, they will build on the knowledge and skills that they have learned in our Film Studies program at SMC.

To meet the growing demand for our Film Studies classes, especially in the area of production and screenwriting, we hired in 2010 a new full-time instructor - Prof. Salvador Carrasco. His background and credentials are impressive. In addition to Prof. Carrasco, several adjunct faculty were hired in the production and screenwriting side of our Film Studies program - Profs. Drew Davis, Monique Matthews, and Mickey Birnbaum. All of them have had extensive professional experience in the motion picture industry as writers and writer-producers, and our students have greatly benefited greatly from being exposed to their "insiders" knowledge of industry practices in this field. In addition to the faculty, we also hired a new adjunct instructor in the critical studies area of our program - Prof. Jeffrey Crum. Other faculty in our program have also had extensive experience working in the world of professional filmmaking. For example, one of our longtime adjunct instructors - Dr. Sheila Laffey - has produced and directed documentary films, and she is strongly involved in the current environmental filmmaking movement. She has received awards for her film work, and has had her films screened at major documentary film retrospectives and festivals. All in all, our Film Studies faculty not only keep current on major films, industry trends, and student vocational opportunities, but they also attend major film festivals, locally and internationally (at their own expense), in order to stay current in the field.

The Film Studies program has partnered with faculty in other departments, co-sponsoring educational film series on campus. For several years, Profs. Josh Kanin and Alan Buckley (Political Science) co-coordinated and moderated a series of on-campus film-discussion evenings entitled “The Monday Night Political Film Series”. This series attracted hundreds of faculty, students, and members of the Westside community-at-large. Because of this series’ success, there are more being planned. In the past two years, with the encouragement and support of Dr. Chui Tsang, the college’s President/Superintendent, Profs. Josh Kanin and Joseph Wu (Modern Languages Department) have co-coordinated and moderated evenings in which the Chinese-American Film Festival has screened contemporary films from China on campus, which have been followed by Q&A sessions with the films’ writers and directors. These highly publicized evenings have been well attended, and have been attended by Dr. Tsang. These programs have been particularly significant for the college because they have keyed into the college’s Global Citizenship goals which Dr. Tsang has been strongly fostering and supporting.

Since the last Program Review, one of SMC's major lecture halls - Humanities & Social Sciences Room 165 - was given a major screening equipment upgrade that cost approximately $90,000 –an initiative fostered by the Film Studies full-time faculty. Many of our Film Studies classes are now being taught in this facility, which includes the latest HD projection system, Blu-Ray player, giant movie screen, and 6-track digital surround sound system. We have also used this facility for special industry-related seminars and screenings, and have taken great pride in being able to screen new films in this state-of-the-art screening room.

The Communication and Media Studies Department with the Film Studies in the lead have consistently invited leading writers, directors, actors, and producers who have conducted seminars with our students - for example, Norman Lear, Rod Steiger, Robert Wise, Roland Joffe, Richard Schickel, and Fay Kanin, to name just a few. Prof. Kanin has instituted a series entitled “An Evening With . . .,” which has featured director Arthur Hiller, actors Edward James Olmos and Sidney Poitier, and actress Eva-Marie Saint. More recently both Prof. Kanin and Prof. Carrasco have expanded our offerings with such notables as Oscar winners and nominees Oliver Stone, Chris Weitz, Bill Hoy, and Christine Choy, as well as comedy filmmakers Jim Abrahams and David Zucker, and more.

One of the strongest developments in our Film Studies program has been the increased

popularity of the Student Filmmakers Association (formerly “Cinema Club”). This organization has grown from a start-up number of five members 28 years ago to record numbers today. Each semester, at least 10 films (varying in length from 1 minute to 30 minutes) are produced and directed, generally at the students’ own expense and with the use of their own cameras and editing equipment. About 40-45 students regularly attend the weekly club meetings and work as cast and crew on the various film projects. The quality of short filmmaking increases with each passing semester. The films are then showcased at semester’s end in a 3-4 hour on-campus screening, which is free and open to the public. In recent years, industry “scouts”, looking for promising new, young talent, have attended these screenings.

Some of the student filmmakers who make films in the club are also Film Studies majors who are enrolled in the digital filmmaking classes. The Student Filmmakers Association has also taken the lead in establishing, sponsoring, and hosting a first-ever annual Intercollegiate Community College Student Film Festival. The annual festival consists of high-profile public screenings of student films made in the film programs at SMC, Pasadena City College, Los Angeles City College, and Los Angeles Valley College. The 1st Annual Los Angeles Community College Film Festival was held in 2007 at the Landmark Theater in West Los Angeles, and the evening’s event played to a packed theater. It was a resounding success and garnered a great deal of publicity for our Film Studies program. The 2nd Annual festival at the Laemmle Monica Theater was equally successful and brought our Film Studies program to the attention of Dustin Hoffman, who asked to see the compilation reel of the short films that were screened at the Laemmle. Several of our own Student Filmmakers Association films won top awards at the first two annual Community College Student Film Festivals. Because of the enormous success of the first two annual festivals, a third year’s festival took place in Fall of 2009 at The Los Angeles Film School, with even greater success than the first two festivals.

More specifically: (1) We have established a 3-semester film production course sequence: Film 31 (Beginning), 32

(Intermediate), and a new course offered for the first time in Spring 2012, Film 33 (Advanced, aka Directing the Short Film), which focuses on the making of independent festival-quality short films in collaboration with other SMC departments, including theater, photography, and Entertainment Technology (video editing, sound editing, animation, motion graphics, and special effects).

(2) As a result of the above, in 2011 we created an SMC Film Production Website that currently hosts 75 original SMC projects, has received more than 30,000 hits, and has been viewed in over 90 countries around the world. www.vimeo.com (search: SMC Film Program) OR https://vimeo.com/user7522094

Already scores of SMC film production students have been offered jobs and internships as a result of their work in our Film 32 and Film 33 classes —the vast majority of them as a result of submitting URL links to our website. Our students have gotten get rave reviews due to the hands-on training that they are receiving in our film production courses. These are some of the companies we are already collaborating with or with which we have signed agreements:

• RKO Pictures; • Chernin Entertainment Company (Peter Chernin is the former CEO of 20th Century Fox); • Jerry Kochick Productions – an ongoing web series entitled "The Adventures of Super

Seven"; • Atlas Films; • Day Twenty Eight Films - general assistant work, script coverage, research, and post-

production assistance.

(3) The first full-fledged short film to come out of our emerging film production program is entitled “Becoming,” directed by Dustin Brown, which not only won SMC’s Global Citizenship competition last year, but it has also been accepted into five prestigious film festivals so far: LA Shorts Fest,

http://www.vimeo.com/

https://vimeo.com/user7522094

International Student Film Festival of Hollywood, New Filmmakers Festival; Filmmakers Showcase LA; and Santa Barbara International Film Festival.

(4) The film production classes are currently being taught in AET 235 and 209, which have been

outfitted to resemble modest but functional Hollywood "sound stages". These classrooms allow our production faculty to simulate a real professional workplace for all students in the filmmaking classes. Shooting styles and techniques, as well as work methodologies utilized in the Hollywood film industry, are being taught, which is making it possible for our students to be more fully prepared for the rigors of professional industry work on feature films and in television.

(5) We have created a series of new rules and regulations for the Film Production Program, in order to

achieve these goals: • Students are learning the craft of filmmaking in an environment that replicates a professional

film set, including set protocol and work ethic. • Maximizing the use of existing film equipment, while also minimizing the risk of loss, damage,

theft, or improper use. • Using AET locations in a conscientious, well-organized way (permits, responsible behavior,

check-out procedures, etc.) that is compatible with AET tech-support’s schedules and convivial with other classes and programs.

• Implementing safety measures, risk management procedures, and behavioral code that keep our students safe and our institution immune from liability issues.

• Raising the standards of short films produced at SMC so that our students directly benefit from the results, which include transferring to four-year colleges or specialized film schools, and being able to apply for jobs in the film industry. Also, by raising the standards of short films made at SMC, our program becomes eligible for major grants and sponsorships that will enhance our present infrastructure and reputation in the Hollywood community.

(6) As previously stated, there has been a steady annual increase in the number of SMC Film Production Program graduates that have been admitted to highly respected film schools in Southern California, including UCLA and USC, as well as colleges outside of California like NYU.

(7) Thanks to donations from past and present SMC instructors, the Film Studies Program now has a

motion-picture screenplay library consisting of nearly 500 titles that are now housed inside the equipment room at the AET.

(8) Our Film Production Program has been designated as a Career and Technical Education training

field, and consequently it has been receiving sizeable annual Perkins Grant funding that has allowed us to purchase the latest, state-of-the-art technology for our production classes. As of now, we have acquired a large number of state-of-the-art cameras, as well as professional-quality lighting and sound recording equipment that have made it possible for our production students to learn the techniques and methods of production using equipment that has parity with industry standards. Continued annual Perkins funding will make it possible for our program to expand and develop more fully in the coming years, which will in turn allow us to add more new courses and faculty to our steadily growing program.

(9) We have developed healthy working relationships between SMC's Film Production Program and

industry vendors like Sony, Panasonic, Canon, EVS, Mole Richardson, and Fisher Dolly, among others, some of which are keen on supporting our emerging filmmaking program. Case in point, Fish Dolly gave us a special deal on a Fisher-10 dolly that they normally rent at $300 per day, and

are letting us have it for $125 per month. (10) Interdepartmental Collaborations - Our production classes and the making of our short films have

fostered strong ties and creative collaborations with other SMC departments; e.g., Theatre Arts (actors), Entertainment Technology (editing, sound design, special effects, foley and dubbing sound work), Music (composers), Cosmetology (hair and make-up), and even Modern Languages and Cultures (ASL videos) and Life Sciences (Anatomy educational videos). In addition, in Spring 2013 we have received requests for further collaborations with the Assessment Center, Modern Languages, and the SMC Foundation/Alumni Project re. our upcoming event in New York City, for all of which we will produce original videos with our students, equipment, and facilities.

(11) Committed to our dream of having a professional movie theater on our main campus, we

approached SMC Project Manager Regina Jennings and got a generous grant to upgrade HSS 165 into a state-of-the-art movie theater from which the whole college will now be able to benefit. HSS 165 has now been endowed with a considerably larger screen, a more powerful HD video projection system, Blu-Ray screening capability, and a 7-track digital surround sound system. This new lecture hall/film theater venue is being used not only by Film Studies instructors but also by instructors in other departments who will be showing films as part of their classes. In addition, we are now doing our annual film industry seminar-dialogues with leading film professionals in our newly renovated HSS 165, which makes it more appealing for them to show their work in a professional setting.

(12) In terms of curriculum development, we have created and implemented a new class: “Film 33:

Directing the Short Film,” which has already been taught for two semesters, and also “Film 40: Cinematography,” which will be taught for the first time in the fall of 2013.

Film 33 - In this course, students prepare, rehearse, direct and edit key scenes from two original screenplays that are shot in their entirety, outside of class, throughout the semester, from Thursdays to Sundays on a couple of pre-assigned weekends. By means of this hands-on approach to their own creative material, students will come up with a unique directorial vision and narrative point-of-view, apply the appropriate cinematic style, and realistically schedule and budget the production of their short films.

This course completes a 3-course film production sequence that provides students with the opportunity to apply the skills, techniques, and methodologies learned in Film 31 and 32 towards the making of short films based on original screenplays that they have written or adapted themselves.

Our Film 33 advanced shoots span from Thursdays to Sundays and consist of a series of four 15-hour days with the instructor present at all times. In Spring and Fall of 2012 we shot six short films, which have accounted for an extra 360 hours of hands-on instruction in addition to the c.120 hours of regular classes that students received throughout those semesters; i.e., a 3:1 ratio. As our Film Production Advisory Committee repeatedly points out, and thus it has become our operating philosophy: "When it comes to filmmaking, the real teaching/learning dynamic happens on the field, provided students are supervised at all times by their instructors, both for pedagogical and liability purposes." Needless to say, what we are offering at SMC's film program is highly unusual for any college, university, or film school.

The making of these films is analogous to the making of professional independent films, in which all our students are actively engaged in developing a technical skill of the filmmaking craft (camera operation, focus-pulling, lighting, gaffing, gripping, sound recording, etc.). SMC students experience all facets of pre-production, production, and post-production in a professional environment, which enables them to transition seamlessly into the most prestigious film programs in the country or into actual jobs in the motion picture industry.

Film 40 - In this hands-on course, students will delve into the art and craft of cinematography —i.e., the methods and techniques by which motion picture photography and lighting help give a film meaning and aesthetic purpose. Through lectures, demonstrations and exercises in a supervised classroom environment, students will learn to operate state-of-the-art digital and electronic equipment while applying the fundamental principles of lighting, composition, exposure, focus, lens selection, and camera dynamics into purposeful visual storytelling.

(13) Professional Links with China –In the summer of 2012 some faculty members were selected to visit

China as part of SMC’s Professional Development Program. Regarding Film Production…

• We met in Beijing with Christine Choy, an Oscar-nominated Chinese filmmaker, who paved the way for us to have many incredibly productive meetings. Here are some of the tangible results and consequences of our trip:

• Christine Choy (Chinese name: Cui Ming Huei) herself came to SMC on November 15th as part of our “An Evening with a Distinguished Filmmaker” series and as the closing event of the Global Citizenship’s International Week. We showed excerpts from her latest film, which deals with the hardships that immigrant workers from Shanghai experience in Beijing, and we also did a Q&A with her and SMC faculty and students, hosted by Prof. Carrasco.

• Christine also visited the editing class of Prof. Walt Louie (Entertainment Technology) to have an informal conversation with his students.

• We also discussed creating an active “bridge” between SMC’s film program and NYU’s Tisch School of the Arts, where Christine not only teaches but has also been the head of the graduate program. (She’s the one who brought world-famous directors Ang Lee and Spike Lee to teach at NYU.)

• In fact, we already had our first successful transfer case in terms of creating that "bridge": SMC student Riu Hu, who did our 3-semester filmmaking sequence at SMC (Film 31, 32, and 33) was recently accepted into NYU’s film program, where he started classes in the fall of 2012, including a directing seminar with Christine, who has offered to take him under her wing as a mentor (like she did with Prof. Carrasco back in 1991!)

• We also met with a Chinese film director, Qian Zhao, who works for China’s largest official State-owned television company, CCTV, and we agreed to do a co-production between CCTV and SMC, which was already shot in Los Angeles during the week of July 9th. In a nutshell, it's a documentary about the creation of a "Wudang (sacred mountain) Theme Park," a multimillion-dollar project involving many prominent Chinese people living in LA and even Mayor Villaraigosa himself. We put Qian in touch with Dr. Tsang, got SMC film students to work (and get paid) in the actual shoot, which included a Taichi class at SMC, and provided logistical support in exchange of SMC receiving an official co-producing credit in the film.

• We also had a very productive meeting at the University of Communications (CUC), where they invited the Chair of our Dept., Dr. Nancy Grass Hemmert, to coordinate and present original work at a symposium on global communication.

• We gave an oral and video presentation to a group of students about SMC in general and our Film Program in particular at a Beijing high school that was coordinated by Teresita Rodriguez and Patricia Ramos. It was very successful and some students expressed their interest in coming to study with us at SMC.

• And last but not least, we had a great meeting at the Beijing Film Academy with the renowned filmmaker and Dean of International Students, Zhong Defong, in which we discussed many possible collaborations between SMC and BFA. Among others, the making of a joint short film to be shot in China (perhaps as an SMC study-abroad program) in 2013 or 2014 whereby half the crew would be SMC students and the other half BFA students. We would develop this project

as part of our screenwriting classes. We also discussed the possibility of BFA sending some of their students to train to SMC and learn about Hollywood filmmaking practices, and lastly, they invited Prof. Carrasco to screen/do a Q&A of his film, “The Other Conquest,” in 2013 for both graduate and undergraduate students.

N.B. The model we’re trying to establish with the Beijing Film Academy is extremely important because we’re convinced that such is the future of filmmaking: International collaborations geared towards making projects that reflect a spirit of true global citizenship.

3. Summarize how the program or service area addressed the recommendations for program strengthening from the executive summary of the previous six-year program review. (6 yr) N/A 4. Describe any changes or activities your program or service area has made that are not addressed in the objectives, identify the factors that triggered the changes, and indicate the expected or anticipated outcomes. (1 & 6 yr)

This question has been covered in previous questions.

5. If your program received one time funding of any kind, indicate the source, how the funds were spent and the impact on the program (benefits or challenges). (1 & 6 yr)

N/A 6. Describe any grants, VTEA, or other funding received since the last review [in the past year] and how it was used to improve the program. (1 & 6 yr) In 2011-2012 we received an $86,400 Perkins grant with which we bought the state-of-the-art

film and digital video equipment that allowed us to implement our film production sequence: Film 31, 32, and 33.

In 2012-2013 Film Studies requested c.$3,000 for the lease of a Fisher dolly, and we supported Entertainment Technology’s grant application to upgrade the storage facilities at AET.

We are currently preparing our 2013-2014 Perkins-grant application, which is broken down as follows:

a) The acquisition of a RED-Scarlet camera/sound package so that our film production and post-production students become fluent in the new and groundbreaking RED 4K technology for the production of higher-quality films, more job opportunities, curriculum development, and strong interdepartmental collaborations.

b) The acquisition of state-of-the-art, tapeless, digital video cameras for both the introductory film production classes and also for the Emerging Film Academy program offered by SMC's Film Department during the interim sessions when our film production equipment is not in use.

c) The purchase of the necessary equipment and infrastructure for us to be able to teach our newly approved Film 40 cinematography class. Through lectures, demonstrations, and exercises in a supervised classroom environment, students will learn to operate specialized cinematography state-of-the-art digital and electronic equipment, while applying the fundamental principles of lighting, composition, exposure, focus, lens selection, and mise-en-scene dynamics into purposeful visual storytelling. N.B. As to how these grants were used to improve the program, please see our answer to question #9 of

C. Program Evaluation, which already addressed that in detail.

7. If applicable, note external factors that impacted the program (e.g., licensure requirements, state or federal requirements, CCCO mandates, regulations, etc.), and any changes the program made as a result. (1 & 6 yr) modified/no change box

N/A

8. Describe faculty engagement in activities, training, or professional development to remain current with industry trends. (1 & 6 yr) Most of the faculty teaching screenwriting, pre-production, and production classes have worked

professionally in the film industry in the areas that they are teaching, and some are continuing to work in the industry while teaching at SMC. Among these faculty members are Salvador Carrasco and Drew Davis (production), Robin Daniels (pre-production), and Monique Matthews, Mickey Birnbaum, and Laurence Rosenthal (our newly-hired screenwriting instructors who replaced Evan Somers when he sadly passed away).

To name but the most recent examples: • Salvador Carrasco is an active DGA (Directors Guild of America) member and he has

recently been attached to direct a feature film based on Martin Cruz Smith’s “Stallion Gate,” and he intends to bring a number of SMC students to work on set with him.

• Mickey Birnbaum’s original screenplay “The Big Shoe,” starring Kristen Stewart, Susan Sarandon, and Jim Sturgess, will be produced and released theatrically in 2013.

• Laurence Rosenthal received an award as UCLA’s outstanding adjunct instructor of 2011.

9. Describe departmental efforts to improve the teaching and learning environment. (6 yr) 10. If there is a tutoring component or other learning support service associated with the program, describe the relationship between the service(s) and the instructional program. If applicable, discuss any data you have compiled regarding student participation and the impact on student success. (6 yr)

Part 2: Moving forward In this section, please indicate what your plans are for the coming year(s).

11. Discuss and summarize conclusions drawn from data, assessments (SLO, SUO, UO), or other indicators identified in

Section C and indicate any responses or programmatic changes planned for the coming year(s). (1 & 6 yr)

We are currently in the process of developing a Certificate Program in Film Production, which will include courses in pre-production, production, and post-production, as well as screenwriting and critical studies (film history, aesthetics/theory, genre, cultural and "auteur" studies, etc.).

The Certificate Program in Film Production will be particularly beneficial to our students who are seeking entry-level jobs in the motion picture industry. Employment in film production-related fields is expected to grow 11 percent during the 2010-2020 decade. Expanding cable and satellite television operations and increasing box-office receipts of major studio and independent films will increase the need for workers. Additionally, a rising demand for U.S. films in other countries is expected to create more employment opportunities for film directors, cinematographers, screenwriters, and producers. Also fueling job growth is the continued development of interactive media, online movies, and mobile content produced for cell phones or other portable electronic devices.

In response to such data, the department’s planned creation of a Certificate Program in Film Production is predicated on the fact that the fastest job growth in the communications industry is in the conception, production, and distribution and/or broadcasting of digital media, including film and television. According to Occupational Information Network’s O*Net OnLine, faster than average projected growth is expected in the areas of film and television directing (27.2012.02); film and video editing (27-4032.00); and audio and video technicians (27-4011.00). With close to 1000 annual

filmmaking job openings in Los Angeles alone (Source: EMSI Complete Employment —1st Quarter 2011), we strongly believe that SMC can train our students to fill a significant number of those positions. It is crucial to note that many of the leading production companies in Los Angeles are located on the Westside of the city in close proximity to Santa Monica College, and a number of them are actually our next-door neighbors at AET, with which we are already building working relationships (e.g., Summit Entertainment, Lions Gate, etc.)

Creation of New Courses An important step in the formation of our Film Production Certificate Program has been the

creation of a new course, Film Studies 33 (Directing the Short Film), which we have already offered for two semesters and has become our most popular filmmaking class, since it represents the culmination and pinnacle of our 3-course sequence and because it’s UC transferable. Film 33 is our first course that focuses on both the art and craft of motion picture directing, and it is also devoted to the making of short films that fulfill our Film Production Advisory Board's recommendations and meet the qualitative standards expected by our student's potential employers in the motion picture industry. Furthermore, last semester we also created a new cinematography class (Film 40), which we soon hope will receive our Curriculum Committee’s approval so that we can start teaching it in the fall of 2013. It is important to note that there is so much excitement in our student population about the new cinematography class that we would like to implement a second section of it as soon as possible. In fact, we have already interviewed possible instructors and have two of them in sight, including SMC’s own Prof. Jeff Crum and also USC’s Prof. Gary Wagner, who is one of Industry Advisory Board members.

In addition, we are in the process of developing more new classes that will be an integral part of our eventual Film Production Certificate Program, including Film Studies 22 (Writing The Feature Screenplay) and Film Studies 35 (Acting For Film & Television), which would be cross-listed with our Theater Arts Department. The Film 22 class will do for screenwriting what we are doing with our production classes, that is, provide a 3-semester sequence of courses in screenwriting, leading to the writing of a marketable feature-length screenplay.

We have fully consolidated an exciting collaboration between the Film Production and Theatre Arts departments by having short films made in the film production classes that feature Theatre Arts actors and actresses. Moreover, our production classes and the making of our short films have fostered strong ties and creative collaborations with other SMC departments, such as Entertainment Technology (editing, sound design, special effects, foley and dubbing sound work), Music (composers), Cosmetology (hair and make-up), and even Modern Languages and Cultures (ASL videos) and Life Sciences (Anatomy educational videos).

Likewise, Prof. Carrasco was asked by the Chair of the Design Technology Department to be a part of their hiring committee for a new full-time Post-Production instructor, in the spirit of fostering a close collaboration between the Production and Post-Production creative teams based at AET. The new full-time instructor, Prof. Walt Louie, has proven to be an invaluable collaborator, and we’re already doing all kinds of things together; for example:

a) Combined mentorship re. post-production of Film 33 short films; b) Combined planning in terms of purchase of new equipment and infrastructure, including the

new storage network at AET, AVID editing systems, and 4K RED technology for our production classes;

c) Joint events, such as hosting editor Bill Hoy on campus, which was filmed by our Film 32 students and posted on our SMC Film Program website.

d) Further synergy between picture editing, sound editing, and film production classes, partly through the use of the new storage network. Case in point, in a Film Production class we’ll be able to shoot original footage that can be accessed in real time and at a high-quality resolution by ET students in the areas of editing, sound design, visual effects and/or animation. This will foster a collaborative culture akin to the way a production studio works in the real world.

Our plan to create a Film Production Certificate Program depends on our being able to continue receiving the Perkins funds that have been requested for 2013-2014, which in turn would allow us to acquire the necessary state-of-the-art equipment that will be used by our students in the various classes to produce films that will meet the high standards set by our Film Production Advisory Board members.

In conclusion, a Certificate Program in Digital Filmmaking will allow students to have the option of receiving a total film school education at SMC without the necessity of transferring to an upper-division level film school. In order to earn this certificate, students will be required to complete a wide range of courses, including those in production, critical studies, and screenwriting. This will be especially valuable and advantageous to students who are unable to gain entry into upper-division level film schools and/or cannot afford the high price of tuition at these film schools, some of which cost c.$50,000 per semester and offer similar courses to what we would be offering for a tiny fraction of that cost.

12. List the objectives or target goals your program or service area has identified for the coming year. Indicate the number of objectives identified. ___1___ Use the comments section to indicate the reason for the objective (assessment results, changes in data, changes in external factors, etc.). Indicate how each objective or goal links to the division goals. Boxes for reporting three objectives have been included here. Please copy and insert boxes if additional objectives are proposed.

Objective 1: Implementation of 4K digital technology into advanced directing/production and cinematography classes as the new film and video industry standard. Area/Discipline: Communication/Film Production/Film 33 and Film 40 classes. Assessment Data and Other Observations: □ SLO Assessment Data □ TIMS Report Data

□ Institutional Research Data □ Other data or observed trends (briefly describe in the comments field below)

External Factors: □ Program Review Committee Commendation

□ Program Review Committee Recommendation

□ Program Review Recommendation for Institutional Support

□ SMC Strategic Initiative (specific in comments below)

□ SMC Master Plan for Education Objective # __

□ Advisory Board Recommendation (CTE)

□ Other factors (briefly describe below: Timeline to accomplish the objective: Spring 2014, assuming we get 2013-2014 Perkins Grant to acquire Scarlet camera. Describe how objective will be assessed/measured: Knowledge of 4K digital tenchology will be demonstrated by use of RED Scarlet camera that exhibits proficiency in image-making techniques and aesthetics, to be assessed through acquired manual skills testing. Comments: The new RED Scarlet 4 K cameras are revolutionizing the film and video industry. At almost four times the resolution of HD-1080p (the previous industry standard for high-definition video), 4K movies can be projected on large theatrical-size screens without any loss of quality in image resolution. Dozens of feature films have now been shot with RED cameras and 4K technology (e.g., The Hobbit), and every electronic manufacturer is now developing 4K televisions, projectors and 4K-compatible equipment, all of which makes the RED 4K system the lynchpin of the new digital era.

Formerly at c. $70,000, the RED Epic camera was cost prohibitive for a public institution like ours, but recently a new camera—the RED Scarlet—has arrived on the market at a fraction of the cost of the original RED Epic. Due to its accessibility and affordability, the RED Scarlet makes it possible for independent films, commercials, music videos, and student films to be produced with an unprecedented technical level and degree of sophistication. In short, knowledge of RED equipment and the language of 4K technology has now become essential in order for SMC students to be considered for internship and paid jobs in the film industry.

We intend to purchase a RED Scarlet camera system through the 2013-2014 Perkins Grant, which would allow us to start implementing RED technology in our Film 33 and Film 40 classes (both of which are UC transferable) in Spring 2014. ADDITIONAL THOUGHTS ON GOALS:

The Film Studies program goals are focused primarily on the successful student transfer to the university either with an A.A. degree or with transfer track coursework satisfaction. Our film courses fulfill a variety of IGETC and/or college requirements.

As mentioned to some extent earlier we also place a high priority on the development of screenwriting and digital filmmaking skills which ensure student success in upper-division level film schools and programs. Our courses clearly reflect the SMC’s four Institutional Learning Outcomes. For example all of our motion picture critical studies courses (Film Studies 1 through 11) focus on improving and developing students’ effective analytic and communication skills and they help students to “obtain the knowledge and academic skills necessary to access evaluate and interpret ideas images and information critically in order to communicate effectively reach conclusions and solve problems” as noted in the second Institutional Learning Outcome.

Our critical studies film courses also promote students’ self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives as noted in the first Institutional Learning Outcome. In particular, the Film Studies 2 (History of International Film) class and the Film Studies 7 (“American Cinema: Crossing Cultures”) class reflect the “inter-relatedness of the global human environment and engage students with diverse backgrounds”as noted in the third Institutional Learning Outcome. Through critical thinking and analysis of the similarities and differences among diverse cultures these courses help students understand a global connectedness “relating to broader issues and events” as also noted in the third Institutional Learning Outcome. The Film Studies program is a model of the goal and mission of our college as stated in the Institutional Learning Outcomes mentioned above.

We are in the process of revising our Film Studies 2 (History of International Film) course so that it will be included in the list of courses that students can choose from to meet the Global Citizenship AA requirement. This degree allows a student to develop an awareness of the diversity of cultures within the United States and/or an appreciation for the interconnectedness of cultural, ecological, economic, political, social and technological systems of the contemporary world. This, in turn, prepares our students to make responsible contributions to a rapidly changing global society. Our Film Studies 7 (“American Cinema: Crossing Cultures”) course is already included in the list of classes that fulfill the Global Citizenship degree requirement.

We are engaging in productive dialogues with the leaders of film departments at other Southern California-based community colleges such as Los Angeles City College, Los Angeles Valley College and Orange Coast College. These dialogues are providing us with useful feedback and ideas for future development of our own Film Studies program.

In expanding and further developing our Film Studies program in accordance with recent developments in the motion picture industry and in maintaining parity with other leading community college film programs it is our belief that we can not only improve on our students’ acceptance rates by top film schools, but we can also insure that our students have greater academic success upon transfer.

E. Curriculum Review N/A The Program Review annual report will note whether course outlines are up to date.

1. Discuss how the department reviews, revises, and creates new curriculum. Include the following information (6 yr):

• The process by which department members participate in the review and revision of curriculum.

• How program goals and SLOS are integrated into course design and curriculum planning. • The relationship of program courses to other college programs (cross-listing, overlapping content, • The rationale for any changes to pre-requisites, co-requisites and advisories. • How the department ensures course syllabi are aligned with the course outline of record.

2. Discuss the role of the advisory board and other industry bodies or input in updating curriculum to meet industry standards and the needs of students. (6 yr)

F. Community Engagement

1. List the engagement of program members in institutional efforts such as committees and presentations, and departmental activities. (1 & 6 yr)

Taken with #2below

2. If applicable, discuss the engagement of program members with the local community, industry, professional groups, etc.) (1 & 6 yr)

Highlights of Film Production’s service to SMC in the last year: I. CTE Committee/Perkins Grant

• Based on the grant we co-wrote last semester with ET Chair Chris Fria, ET was awarded a substantial grant (c.$150,000) to upgrade the digital storage system facilities at the new AET complex. Aside from this, as stated elsewhere in this Program Review, since fall 2010, through the various grants we have been granted, the value of our film equipment has increased to c.$135,000.

• With the invaluable assistance of Vice-President Jeff Shimizu and Patricia Ramos, Dean of Workforce & Economic Development, we were able to get financing to cover insurance for all our film equipment.

• As an active and voting member of SMC’s Career Technical Education (CTE) Committee, Prof. Carrasco of Film Production has been representing the Dept. of Communication’s Film Studies at our biweekly meetings since Fall 2010.

• Have continued fostering working relationships between SMC’s film production program and industry vendors: Panasonic, Canon, EVS, Mole Richardson, Samy’s Camera, and Fisher Dolly, among others.

II. Global Citizenship Symposium • Member of SMC’s Annual Global Citizenship Student Research Symposium & Tournament,

helmed by our Dept. Chair, Nancy Grass-Hemmert. Led the judging panel for the film and video competition. One of our original short films, “Becoming” (dir. Dustin Brown) shared the grand prize.

III. Emerging Filmmakers Academy • Created tailor-made curriculum for SMC’s Community Education “Emerging Filmmakers

Academy” (EFA) as a not-for-credit program that is already helping generate revenue for SMC’s film program much needed maintenance and repair costs. EFA was first taught in the summer of 2012 and it was a resounding success; consequently, it is being offered again in spring 2013 at the Bundy campus.

IV. Outreach on Behalf of SMC (in-house) • As part of Fall 2012 Opening Day, we presented a slideshow of our trip to China for which

we compiled c.1000 photos, and edited it down to a representative selection of images and

music that would convey our collective experience. The slideshow has so far received thousands of “hits” online and can be accessed here: https://vimeo.com/48547518

• Last semester we invited legendary film director Oliver Stone to SMC and hosted a screening/Q&A with him and prominent Latino actress Elpidia Carrillo on 3/22/12. http://vimeo.com/39539449 N.B. As a follow-up to this event, we met on 11/2/12 with Oliver Stone and invited him to come back to SMC in 2013 to show a couple of episodes of his new documentary series “The Untold Story of the USA.”

• Co-organized with Prof. Sheila Laffey a visit to SMC on 10/9/12 by filmmakers Renzo and Annika Beaulieu to show their latest documentary work.

• Have presented several Film Production workshops as part of Career Day Committee efforts led by Project Manager Maria Leon-Vazquez, including an upcoming one on March 12th for the Santa Monica High School Career Day.

V. Trip to China (Please see question (14.) of D. Program Improvement.)

3. Discuss the relationship among and between full and part-time faculty, involvement of part-time faculty in departmental activities, and part-time faculty access to resources and support. ( 6 yr)

N/A

G. Future Trends, Program Planning, Conclusions and Recommendations The following items are intended to help programs identify, track, and document unit planning and actions and to assist the institution in broad planning efforts.

Present any conclusions and recommendations resulting from the self-evaluation process.

CURRENT TRENDS, PLANNING, RECOMMENDATIONS 1. Identify any issues or needs impacting program effectiveness or efficiency for which institutional

support or resources will be requested in the coming year. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request support or resources through established channels and processes]. (1 & 6 yr)

2. If applicable, list additional capital resources (facilities, technology, equipment) that are needed to support the program as it currently exists. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request resources through established channels and processes]. (1 & 6 yr)

3. If applicable, list additional human resources (staffing, professional development, staff training)

needed to support the program as it currently exists. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request resources through established channels and processes]. (1 & 6 yr)


4. Projecting toward the future, what trends could potentially impact the program? What changes does the program anticipate in 5 years; 10 years? Where does the program want to be? How is the program planning for these changes? (1 & 6 yr)

https://vimeo.com/48547518

http://vimeo.com/39539449

5. If applicable, list additional capital resources (facilities, technology, equipment) that will be needed to support proposed changes. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request resources through established channels and processes]. (1 & 6 yr)

AREAS 1 – 6 Are answered together below:

Throughout all the meetings we had in 2012, our Film Production Advisory Committee, which consists of a group of distinguished professionals in the Hollywood film industry, raised the following trends and issues as the top priorities concerning the future of Santa Monica College's emerging film program:

1) THE IMPLEMENTATION OF 4K TECHNOLOGY AS THE NEW FILM AND VIDEO INDUSTRY STANDARD

GOAL: TO IMPROVE STUDENT PERFORMANCE

The new RED-Scarlet 4K cameras are revolutionizing the film and video industry. At almost four times the resolution of HD-1080p (the previous industry standard for high-definition video), 4K movies can be projected on large theatrical-size screens without any loss of quality in image resolution. Dozens of feature films have now been shot with RED cameras and 4K technology (e.g., The Hobbit, Pirates of the Caribbean 4, The Social Network, District 9, the new Spiderman movie, etc.), and every electronic manufacturer is now developing 4K televisions, 4K projectors, and 4K-compatible equipment, all of which makes the RED 4K system the lynchpin of the new digital era. Formerly at c. $70,000, the RED-Epic camera was cost-prohibitive for a public institution like ours, but recently a new camera —the RED-Scarlet— has arrived on the market at a fraction of the cost of the original RED-Epic. Due to its accessibility and affordability, the RED-Scarlet makes it possible for independent films, commercials, music videos, and student films to be produced with an unprecedented technical level and degree of sophistication. In short, knowledge if not outright mastery of RED equipment and of the language of 4K-technology has now become essential in order for our students to be considered for internships and paid jobs in the film industry. 2) THE URGENT NEED TO MIGRATE COMPLETELY TO A TAPELESS HIGH-DEFINITION ENVIRONMENT AND WORKFLOW, WITH AN EMPHASIS ON THE INTRODUCTORY DIGITAL FILM PRODUCTION CLASSES GOAL: TO IMPROVE OUR PROGRAM

Our existing JVC cameras for the introductory classes record footage on videotape, which is not only impractical but, according to one of the members of our Film Production Advisory Committee, it is also counterproductive because SMC students are learning basic skills "that amount to a dead language." In the case of videotape, once the footage has been recorded, it has to be digitized from the camera into an external hard drive. This process is now obsolete because it causes considerable wear-and-tear on the recording/playback heads of our digital cameras. Between our two sections of Film 31 classes last semester, we generated over 50 hours of footage that had to be digitized directly from the cameras. We do not have the budget for—nor do Perkins funds cover—the maintenance or repair of these cameras, so when the heads wear out, the existing JVC cameras have to be put out of commission. Regrettably, this has already happened to two of our existing six cameras. But even more significantly, videotape technology is now a thing of the past in the film industry, so our Film Production Advisory Board has strongly recommended that we replace these cameras as soon as possible, in order for our Film 31 students to be able to make a successful transition into our intermediate Film 32 and advanced Film 33 classes, both of which are taught now with proper digital cameras that rely on memory cards.

Unfortunately we simply do not have enough cameras to satisfy all our production classes, so the acquisition of state-of-the-art cameras for the introductory classes can not be postponed any longer, if we are to have an internal coherence in our sequential 3-semester-long digital production program. 3) THE OFFERING OF A SPECIALIZED CINEMATOGRAPHY CLASS WITH ITS REQUIRED INFRASTRUCTURE

GOAL: TO EXPAND OUR PROGRAM

After assessing our latest materials in preparation for this program review, our Film Production Advisory Committee determined that we need to offer a cinematography class in our film production curriculum that focuses on the technical aspects of filmmaking, not only to enhance the quality of the films that we are currently producing at SMC, which will facilitate academic transfer opportunities, but also to give our students the career technical education that will allow them to get internships and apply for practical hands-on jobs in the film industry. This fulfills one of the main tenets of the SMC film program, and that is that we are not just hoping to fatefully harbor the next superstar film director, but rather catering actively to our entire multicultural, diverse population so that our students can apply for below-the-line jobs (the technical, craft-oriented skills that they will learn in a cinematography class, including, camera operation, camera assistance, gaffing, gripping, dolly operation, etc.) in addition to above-the-line jobs, such as directing and producing. Hence, at the behest of our Film Production Advisory Committee, we have created a new foundational course, Film 40: Cinematography, which has already been approved by Curriculum Committee, will be UC transferable, and will start being offered in the fall or spring of 2013.

We plan to revise our existing Film Studies 6 (“Women in Film”) course to give it a wider framework in the teaching of gender & sexuality issues as applied to the cinema. The course will be revamped and renamed “Gender in Film”, and the course’s content will include the study of both male and female gender issues/topics in film. We also plan to revamp our current scriptwriting program to establish a 3-course sequence instead of the current 2-part structure. This sequence of courses will include Film Studies 20 (Beginning Screenwriting), Film Studies 21 (Intermediate Screenwriting), and Film Studies 22 (Advanced Screenwriting). This revision to the program - the addition of an extra screenwriting class - will give this program greater parity with the screenwriting curricula of leading universities that teach this subject, and will make us more competitive with those university-based programs. With the recent proliferation of smaller production companies and cable TV stations, screenwriting has become a high growth area with regard to employment opportunities for screenwriting students. Students who wish to attend SMC for the exclusive purpose of learning screenwriting will be more thoroughly trained in professional practices and standards. We hope that a three-part curricular structure will attract more students to take these classes, especially those who wish to come away with a completed feature-length screenplay, which will the major focus of the newly-created Film Studies 22. Having a finished, well-written feature-length screenplay will provide a strong portfolio of creative work that will attract potential screenwriting employers. (Our screenwriting instructors are professional screenwriters working in the Hollywood motion picture industry and they give their top students access and introductions to leading film producers, agents, and others leading professionals in the industry who are in key positions to employ new young talent in this field).

We have already developed and are presently offering Film Studies 2 (History of Motion Pictures) and Film Studies 1 as online courses. Enrollment in and student demand for these classes has been huge. In the years ahead, we plan

to expand our online course offerings to include other IGETC and UC-transferable courses in our motion picture critical studies curriculum, including online versions of Film Studies 5 (Film & Society), Film Studies 6 (Women In Film), Film Studies 8 (The Popular Film Genres), and Film Studies 11 (Literature into Film).

In keeping with the college’s goals to establish a wide range of multidisciplinary and interdisciplinary studies and course offerings, we plan to develop and teach specialized Film Studies courses which will allow for interdepartmental cross-listing and which promote team-teaching arrangements. Presently, two of our motion picture critical studies courses - Film Studies 6 (Women in Film) and Film Studies 11 (Literature Into Film) - are cross-listed with other departments. Once we get approval to offer the currently-in-development Film Studies 29 (Motion Picture Business) course, we intend to have this class cross-listed with the Business Department. In the coming years, we also plan to offer specialized themes in our Film Studies 5 (Film & Society) course that can be cross-listed with other academic disciplines’ offerings and/or team taught by faculty in different departments. Such Film Studies 5 course themes as “Psychology & Film”, “Philosophy & Film”, “History & Film”, “Politics in Film”, etc. naturally lend themselves to these kind of interdisciplinary teaching alliances. Because one of SMC’s most important institutional missions is to emphasize serving the community through addressing the needs of a variety of students, including those who drop in for a course or two, attend for career technical education, and enroll for transfer purposes, we believe that offering more interdisciplinary courses in our Film Studies program will broaden the educational experience for those students who do not plan to continue with further formal film education after their community college experience.

For the past three years we have been establishing a stronger alliance with the Academy of Entertainment & Technology (AET), integrating our Film Studies courses into established AET degree programs and curricula. This allows AET students to get credit for taking Film Studies classes as a necessary part of their fulfillment of A.A. and certificate programs offered by the AET. By combining our programs and courses, our Film Studies Program will have increased student outreach, and closely interrelated entertainment technologies and CTE-oriented programs currently being taught at the AET campus and in the Communication Department will become academically linked. To this end, we are fortunate to have many of our Film Studies course sections currently offered at the AET campus. In addition, our newest full-time hires, Prof. Carrasco (Film Studies) and Prof. Louie (Entertainment Technology) are already collaborating in a number of projects, including, for instance, the post-production of the SMC original short film “Annabel Lee,” which will be submitted to domestic and international film festivals in 2013.

Likewise, for the past three years we have established a closer academic alliance with SMC’s Theatre Arts Department. Furthermore, there are obvious inter-disciplinary courses that can be created and cross-listed between Film Studies and Theater, such as “Acting In Film”, “Directing The Film & TV Actor”, etc. In addition to this, we have already developed a cooperative arrangement with the Theatre Department that makes it possible for stage acting students to learn about opportunities to participate in student films being made in our digital filmmaking classes.

This gives our student filmmakers access to young actors who are being properly trained in this art and craft, and it also it gives theater acting students an opportunity to get their acting talents showcased on film, building valuable portfolios of their work. Both film and theater students are already

benefitting from this fruitful and exciting partnership through our SMC Film Production Website, where we post well-crafted projects that have opened countless doors for internships, jobs, and transfer opportunities.

C. Hiring Of New Faculty:

Up until 2005, there were two full-time instructors in Film Studies – Profs. Shirley Saint-Leon and Josh Kanin. An additional full-time instructor, Prof. Heidi Crane, taught courses in scriptwriting and other areas of the department. However, in 2005, Prof. Saint-Leon retired, and a year later, Prof. Crane retired. Since the last program review in 2009, an additional full-time instructor was hired - Prof. Salvador Carrasco - as mentioned in an earlier section of this report.

Conclusions: The integration of RED 4K technology, tapeless high-definition cameras for the introductory

classes, and specialized cinematography equipment and infrastructure to our curriculum will bring us closer to fulfilling our dream for SMC’s Film Production Program; namely, that our students can have access to the resources that traditionally could only be experienced in private institutions and, as a byproduct of this, we wholeheartedly believe that they will be able to make films that in technical skill rival the best films produced at private university film programs (AFI, USC, and NYU) for a fraction of the cost, with the added advantage that, due to their diverse cultural backgrounds and variety of life experiences, the stories that SMC students have to tell may be the ones with the longest lasting power among audiences.

The impact of RED 4K technology on all our production and post-production classes, as well as the development of new curriculum to support this technology (e.g., a new cinematography class, 4K editing and post-production workflow, etc.), will place SMC at the forefront of state-of-the-art digital film technology. Moreover, we will be future-proofing our film department by creating original footage that will be able to play in full quality years from now when 4K inevitably becomes the standard.

The expansion/improvements that we are hoping to achieve with the aid of Perkins funds will accomplish SMC’s institutional goals of enhancing the teaching and learning environment and improving effectiveness in the delivery of instructional programming and/or student support services.

• Teaching RED 4K technology and the use of the RED-Scarlet camera/sound package will be

similar to teaching and learning a new language by applying what could be labeled as a "building-blocks methodology." In that spirit, we will incorporate demos and gradual use of RED equipment in our beginning and intermediate production classes (Film 31 and Film 32), and then, of course, most prominently in our new advanced class, Film 33: Directing the Short Film, with the production of original short films made with RED 4K equipment that will open all kinds of professional and academic doors to our students.

• We have already recently created a specialized cinematography class and are in the process of

enhancing the current post-production classes to include RED 4K workflow. Needless to say, select Entertainment Technology classes may also have access to this equipment in-house and under close instructor supervision.

• The acquisition of a RED-Scarlet camera/sound package will bring us closer to the creation of

a Certificate Program in Film Production, which will include updated and relevant courses in pre-production, production, cinematography, and post-production, as well as in screenwriting and critical studies.

• Since our students will have the opportunity to learn how to use the RED-Scarlet camera/sound

package in a production, cinematography, and post-production environment and dynamic workflow, they will very likely be able to find many more jobs in the film and video industry. Having ample experience with RED-Scarlet on a resume will be a huge competitive advantage for SMC students over other film programs.

• Quality of student output: the enhanced image/sound quality of RED-Scarlet 4K SMC original

short films will give our students a competitive edge in film festivals and with prospective employers. These films will represent the high academic standards of Santa Monica College to the community and film industry and will put us on the map as one of the top film schools in California.

There has been much tangible progress made by SMC’s emerging film production program in the

last year, as evidenced by the contents of this program review, the ongoing support of our Film Production Advisory Committee, the acceptance of SMC original short films into prestigious film festivals, and the successful transfer of many of our students who completed our film production course-sequence into the best film schools in the country.

All this will in turn make it possible for our students to acquire the visual literacy and technical skills needed to effectively express themselves using the universal language of cinema. By having state-of-the art filmmaking equipment that makes it possible for us to simulate professional film sets in our classes, no one will be left out of the learning equation. Every student will be given the opportunity to play a significant role in the filmmaking process. We want our Film Production Program to offer the infrastructure that one would normally find in a costly private school while providing universal access to students at affordable community-college tuition rates. Thus, all students will be able to receive their training using the latest, state-of-the-art equipment when it comes to learning the potentially lucrative craft of filmmaking, including individuals with disabilities, from economically disadvantaged backgrounds, students of all ages, single parents, foreign students with limited English proficiency, etc. The philosophy of our Film Production program is that pursuing a film career is an ideal way for our students to radically improve their lives and social conditions. By means of the high-standard, meaningful films that they will be making in our program, our students will fulfill SMC’s mission of enriching the global community and developing “an understanding of their personal relationship to the world’s social, cultural, political, economic, technological, and natural environments.”

6. If applicable, list additional human resources (staffing, professional development, staff training) that will be needed to support proposed changes. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request resources through established channels and processes]. (1 & 6 yr)

7. If applicable, note particular challenges the program faces including those relating to categorical

funding, budget, and staffing. (1 & 6 yr)

8. Please use this field to share any information the program feels is not covered under any other questions. (1 & 6 yr)

AREAS 7 – 9 Are answered together below: VERY IMPORTANT:

This is by far and unequivocally the most pressing issue and the top priority that SMC’s Film Production Program is facing at the moment. We urgently need to hire a dedicated staff person to

manage and coordinate the following areas: A) Logistics of our film production classes and Emerging Filmmakers Academy; B) Permanent, ongoing synergistic collaborations between film production and other

departments, including Entertainment Technology (post-production, editing, sound design, etc.) and Theatre Arts (actors);

C) Sporadic collaborations with other departments and institutional needs, the demands for which are increasing every semester as our program grows in scope and reputation; e.g., we recently did a video for Veterans Resource Center and have requests for collaborations from modern languages, anatomy, etc.

D) Logistics of our film shoots in and out of campus, including liability issues which greatly impact SMC;

E) Logistics of our new film and digital video equipment room (which already houses c.$135,000 worth of equipment and is about to increase substantially with the next Perkins grant);

F) Maintenance of repairs of such equipment G) Maintenance of SMC Film Program website, which has become the main conduit for our

students to get hired for production jobs and internships.

Following is the more detailed breakdown of what this position implies… Program Coordinator or Full-time Lab Tech for Film Production

Specific Duties and Responsibilities PREMISE: The film production classes require a specifically allocated full-time staff member to

do the following: I. Be fully in charge of all the film equipment, including Perkins-grant purchases (c.$135,000), leased

Fisher dolly, and equipment shared with other programs at AET (e.g., Kino Flo lights, green screen, etc.)

II. Implement new rules and procedures III. Assist in the production classes IV. Supervise logistics of students’ film shoots, including permits, safety procedures, etc. V. Coordinate synergistic activities between film production and other Film Studies (e.g.,

screenwriting, critical studies) and Entertainment Technology classes (editing, sound design, visual effects, etc.)

VI. Coordinate the increasingly growing number of film shoots on campus involving other SMC programs and faculty that foster inter-departmental cooperation (Theatre Arts, Cosmetology, Music, Modern Languages, ESL, the Future Alumni Club, Workforce Development, etc.)

Administrative: • Organize and supervise auditions, production meetings, and all film/video shoots that take

place outside of class hours. • Coordinate the procuring of SMC insurance for student film shoots. • Liaison with other SMC departments, programs, and faculty to facilitate inter-departmental

cooperation re. film shoots. • Maintain inventories of all film equipment and other resources (screenplay and DVD

library). • Ensure that our “Policies for Film Production Classes” are implemented and followed in all

our classes. General Equipment: • Promote the long life of all SMC film equipment by ensuring proper use and stowage by

students and by conducting weekly maintenance, arranging for repairs as needed. • Maintain technical expertise for all SMC film equipment through research and on-site

practical tests, including support for Perkins grant applications. • Support the head of production by recommending gear acquisition through research and

liaisons with seasoned film veterans, including the members of own Film Production Advisory Board.

Weekly Equipment Care and Maintenance: • Ensure correct recording settings for all cameras per course requirements • Check eyepiece and camera LCDs for optical accuracy • Clean and maintain all lenses • Check camera back-focus and correct as needed • Ensure camera batteries fully charged and AC power adaption available • Tighten tripod spreaders • Align follow focus rings • Safely reformat flashcards (ensure no footage lost) • Offload footage to school hard drives – inventory footage, provide new cards for shoots • Maintain life of various cables by ensuring proper wraps

Logistic and Technical Assistance in the Classroom:

In our production classes we conduct simultaneous film shoots to ensure that all students are fully engaged with hands-on activities. It is imperative that students are supervised at all times, so while the main instructor (e.g., Prof. Carrasco) is on one set, the program coordinator or lab tech supervises the other one, alternating throughout the class period. This ensures maximum efficiency and protects SMC in terms of liability issues, since accidents can easily happen on film sets.

Ensure safety when filming by monitoring student crew activities, including electrical power usage, the proper regard for the extreme heat of the cinema lights (use of gloves), that safety cables are used when hanging lights from above, that all chords and cables on the floor are secured, that all light stands are anchored by sandbags, that appropriate passageways exist between equipment, that C-stands do not have unprotected horizontal arms, the safe use of the Fisher camera dolly.

Trouble-shoot and or correct common on set problems such as incorrect camera mounting, cable arrangements, flashcard mounting, the improper use of C-stands and light stands, incorrect camera menu settings, misalignment of follow-focus, iris rods and camera plates, incorrect audio levels, misaligned or incorrectly mounted lenses or filters, improper use of the camera dolly (hydraulic system).

Support the professor’s instruction through expeditious logistical support, including the preparation of the shooting location and the staging and setting up of equipment, and through the knowledge of standard framings and compositions, the characteristics and effects of prime lens, camera movement and angles, the rules of continuity editing and proper set or location etiquette and protocols. Logistic and Technical Assistance On-Set (Outside the Classroom):

In our Film 33 classes, and now also in our new Film 40, a great deal of instruction happens outside of class, above and beyond the scheduled hours. For instance, Film 33 consists of sixteen four-hour sessions in class, but in addition, we shoot projects over two four-day weekends (15 hours per day), which amounts to an additional 120 hours of supervised instruction on location. The logistics are just as challenging as those involved in producing an independent film, which is exactly what we’re doing in this class that emulates a professional film set and prepares our students for “the real world” of film production in a way that ensures a seamless transition into the workplace. For the efficiency of our program and for the safety of our students and our equipment, it is imperative to have at all times the presence of a Project Coordinator supervising the organization and logistics of these shoots, from pre-production to completion, which also allows the instructors to focus on teaching and mentoring. Personal Note from Prof. Carrasco –

It is crucial to note here that there is no film production program anywhere that doesn’t have such a person. I am speaking from experience here, as I studied filmmaking at NYU and I have taught at USC, Pomona College, and I was the Head of the Filmmaking Program for 7 years at The Los Angeles Film School, in addition to being very familiar with the film programs at UCLA, Chapman, Columbia College, and even other community colleges. As this program review hopefully shows, we have achieved a great deal as a department since I was fortunate enough to be hired to help create a film production program at SMC in the fall of 2010, but we’ve come to a point now where our growth and accomplishments are simply not sustainable unless we employ a full-time person to support these logistic tasks.

What I would like to propose and request is that we hire a Program Coordinator or Full-time Lab Technician specifically for film production. The Chair of Communication, Nancy Grass Hemmert, is fully aware of the dire need for this position, as are people in our Administration. A significant step has been taken in that a symbolic stipend (non-Perkins) of $1,500 is being paid to an Adjunct Faculty member so that he/she can assist with the management of our equipment room and its contents, but obviously the ideal solution would be to create a new staff position and hire someone on a permanent basis.

Likewise, this person would assist in all of our production classes, which not only would ensure that the students be supervised at all times but would also protect SMC in terms of safety and liability issues. There is no question that this position will be needed once we move into the new AET complex, but the truth is that it should be implemented already, since the emerging film program is now a reality that demands an infrastructure that can help us meet our growing needs.

In true cinematic form, we would like to finish our program review by sharing this behind-the-scenes video with you, which shows what our film production program has become in just a couple of years and is far more eloquent than words in the way it highlights our students’ work ethic, commitment, and passion for making films! https://vimeo.com/44004461 Final Thoughts:

The Communication & Media Studies Department’s Film Studies program is growing by leaps and bounds, and has contributed formidable FTE to the department and to the college as a whole. This has been pleasing to the college’s administration. Enrollments in Film Studies classes continue to increase with each passing year. Students who are planning careers in the motion picture industry, but who cannot afford costly film and trade school educations, are attracted to our program offerings, in addition to those students who wish to obtain an A.A. degree or make a successful transfer to upper-division level universities.

Considering the state of the current economy and the financial hardships that many high school graduates are faced with in obtaining higher education and vocational training, SMC’s Film Studies program is an attractive choice. Ours is a “full-service” film program, providing a full range of motion picture critical studies course offerings, as well as vocational training classes which encompass the areas of screenwriting, pre-production, production, and postproduction. We take great pride in our success in transferring so many of our program’s graduates into major universities. We are dedicated to ensuring our students’ success, both in upper-division level film study, as well as in their eventual careers in the world of professional filmmaking. Because there is so much competition for careers in this lucrative and competitive industry, we are continually improving our program to keep pace with and more thoroughly prepare our students for work in this challenging and demanding field.

https://vimeo.com/44004461

Two Year CTE Report: Journalism

Program Review

Program Information

Program Name: Film Studies

Academic Year: 2012/13

Program Contact:

Saul Rubin, x3537

Program Type

X Instructional X Career Technical Education □ Student or Instructional Support □ Administrative Service Review Period

□ 6 year X Annual

A. Program Description and Goals 5. Describe the program and/or service area under review and how the program supports the mission of Santa

Monica College. Journalism classes offer instructional and career technical training in all journalism-related fields of study and work skills. It prepares students for transfer to upper division as well as offers practical career technical training for students in the field of journalism, core missions of the college

6. Identify the overarching goal(s) or charge/responsibilities of the program or service area. If appropriate, include ensuring/monitoring compliance with state, federal or other mandates.

Goal is too keep pace with changing landscape in journalism career training and also upper division programs in journalism

7. If applicable, describe how the Institutional Learning Outcomes (ILOs), Supporting Goals, and/or Strategic Initiatives of the institution are integrated into the goals of the program or service area.

Journalism most clearly supports the ILO of teaching students to communicate effectively. Other initiatives including student success are clearly supported by the journalism program as journalism skills not only prepare students for a career but also give them tools to become better students and more effective as leaders and members of society

8. If your program receives operating funding from any source other than District funds identify the funding source. If applicable, note the start and end dates of the funding (generally a grant), the percentage of the program budget supported by non-District funding, and list any staff positions funded wholly or in part by

non-District funds. Do not include awards for non-operational items such as equipment (ex. VTEA) or value added activities (ex Margin of Excellence).

NA

B. Populations Served In this section you will provide information that describes who your program or service area serves. When comparing data from different periods, use a consistent time frame (ex. Compare one fall term to another fall term)

Set #1 Discipline __Journalism_______________________________

1. Describe your students in terms of ethnicity, race, gender, age, residency status, citizenship, educational goal, enrollment status, and full/part-time status. Note any changes in student or enrollment data since the last six-year program review and the possible reasons for the changes.

Journalism boasts a very diverse student population that is reflective of the SMC’s overall diverse enrollment. Although, we do have a higher number of 20-24 year old students than the college, but otherwise reflects the college population in age.

2. Compare your student population with the college demographic. Are your students different from the college population?

Journalism has a higher number of 20-24 year old students than the college, but otherwise reflects the college population in age. Journalism has a higher percentage of black students than the college and fewer Asian students than the college average; otherwise the numbers look to the same. There are more female students in journalism classes by about 64.7% and fewer male students by about 35.3% as compared to the College-wide breakdown of 54% female and 46% male. Additionally, the age of our Journalism students tends to be younger than the overall student population with fewer than 8.3% of our students in the 30 year and above range as compared with the College rate of 16.5% of students in the 30 and above categories. Of the various racial categories studied by Institutional Research, Journalism shows a higher than College enrollment of Black and White students (13.4 v. 9.8% and 41.4 v. 30.5% respectively), but a significantly lower than average Asian enrollment (6% versus 18.5%) as compared to the College statistic. However, with the relatively small number of Journalism students enrolled each semester overall, it is not surprising that year-over-year these numbers would fluctuate. Single year changes in the past several years have varied by as much as 16% in a single racial category only to re-adjust significantly again the next year.

3. What percentage of students in your program place in basic skills and, if applicable, how does this impact your program goals and/or curriculum?

Journalism had a 10 % enrollment in Fall, 2011 in basic skills. Students need to be proficient in basic writing and math skills to succeed in journalism, so we have fewer students who pursue and/or persist journalism who would identify as basic skills students.

C. Program Evaluation In this section programs/units are to identify how, what, and when program evaluation takes place and summarize the results from data collected. Please use Section D to address program responses to the findings described in this section.

Set #1 Program or Discipline: Journalism

1. Discuss how the program, discipline, support service or function evaluates its effectiveness. Include any changes to the evaluation process since the last six-year program review.

Program review is on an annual basis.

2. Describe how the program, discipline, support service, function, administrative unit or service area engages all unit members in the self-evaluation dialogue.

Faculty and the larger department are involved in the evaluation.

3. Describe how and when the program, discipline support service or function assesses outcomes, sets and measures goals and objectives (annual or long range), and determines areas to target for improvement. Describe how the program uses Student Learning Outcomes (SLOs), Service Unit Outcomes (SUOs) or Unit Outcomes (UOs) assessment data to inform program planning and decision making.

See #4

4. What have your SLO/SUO/UO assessments revealed or confirmed since your last report? SLO’s for all journalism classes were written in 2008. Journalism classes involve project-based

learning projects so the SLO’s involve students being able to demonstrate their understanding of certain skills in completing a project. The SLO’s are measured by student performance on a specific project.

For example, an SLO for Journalism 1 states that upon completion of the class, students will be able to: “Research and write a 1,000-word feature article that demonstrates an understanding of the feature style format and the structure of a news article, utilizes quotes from at least one interview and relevant database research, and demonstrates an understanding of an appropriate news topic.” This SLO can be measured by a student’s performance on the specific assignment to write a feature story.

For journalism 15, an SLO states that upon completion of the course, “Students will demonstrate an understanding of how to technically construct a multimedia story and how to select appropriate elements to be included in the content to produce an effective story.” This SLO can be measured by student performance on an assignment to produce a multimedia story.

This has proven to be an effective use of SLO’s and measurement of student success as student performance on a given assignment is an accurate measure of how well students have understood key concepts of a class, since this is project-based learning.

5. What has available data from TIMS reports and/or the Institutional Research website, revealed or confirmed since the last six-year program review report? Include the following indicators, as appropriate: success, retention, number of AA degrees or certificates awarded, completion rates etc. Note trends, differences in performance by group (ethnicity, gender, age) or enrollment type (day/evening, on-ground/on-line). Please include relevant examples either in this section or as an appendix to this report.

Some of the more challenging courses in the program such as Journalism 16 maintain a good retention rate of almost 90 percent but a success rate of close to 70 percent, so improvement would be welcome in this factor. I am working this semester to develop the Transfer Model Curriculum and the state AA degree in journalism which should improve AA degrees. For success in journalism, though, an AA or certificate is not required so there is not a lot of incentive to take the SMC AA journalism degree, especially when upper division programs don’t always honor the transfer courses.

http://www.smc.edu/EnrollmentDevelopment/InstitutionalResearch/Pages/Program-Review.aspx

6. If applicable, discuss any other information or sources your program used this year to assess effectiveness (such as surveys, CalPASS, job placement, transfer rates, observed trends, tutoring usage, etc.), what the information has revealed or confirmed, and how it factored into program planning and decision making. Please include relevant information/examples from these additional sources either in this section or as an appendix to this report.

Would gladly welcome suggestions in this area.

7. If applicable, discuss achievement rates on state licensure exams. NA

8. Career Technical Education (CTE) programs are required to have active industry advisory boards which meet at least once a year. (Attach minutes from each meeting since the last program review report). List advisory board membership, how often it meets, and indicate involvement with the program. Please attach minutes from the most recent advisory board meeting as an appendix to this report.

Keeping up with major trends in the every-changing world of journalism is extremely vital to ensure that curriculum at Santa Monica college’s journalism program remains relevant and useful for preparing students for upper division programs in journalism and ultimate careers in the field. The role of an advisory board is of course useful but limited as a group that meets in a physical space but once a year is no longer adequate or even the most beneficial way to monitor trends in the field of professional journalism and journalism education.

For that reason I am constantly monitoring journalism blogs and several useful journalism web sites to ensure that I stay current with these constantly fluctuating trends. Several times a day I follow the list serves on College Media Matters, the Journalism Association of Community Colleges, and blogs such as 10,000 Words and Media Shift for helpful clues and useful teaching tools and tips.

The SMC journalism advisory board last met in spring, 2011. In fall of 2012, on Oct. 19, I attended an all-day journalism education conference hosted by Cal State Northridge where many of the people on the advisory board were in attendance, as well as many other journalists and journalism educators. I attended this event in lieu of having our own meeting at SMC. I intend to call a meeting of the SMC journalism board in fall, 2013 and will have minutes from that meeting available after that.

Following is our list of Advisory Board Members:

Virginia Gaglianone, reporter [email protected] 213-200-3918 La Opinion Gaby Herbst, adviser Beverly Hills High School [email protected] 310-551-5100 x1253 Michael Anastasi, Executive Editor LA News Group [email protected] 626-422-4305

David Morgan, Editor in Chief USA Today Sports Media Group [email protected] 213-364-3372 Matt Stevens, Staff Writer Los Angeles Times [email protected] 213-271-5706 Linda Bowen, Journalism chair CSU Northridge [email protected]

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aVirginia.gaglianone%40laopinion.com

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3agherbst%40bhusd.org

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aMichael.anastasi%40langnews.com

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3adamorgan%40usatoday.com

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aMatthew.stevens%40latimes.com

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aLinda.s.bowen%40csun.edu

818-677-3135 Tony Pierce, Blog Editor KPCC-Pasadena [email protected] 323-387-2911 Stephanie Bluestein, Professor CSU Northridge [email protected] 818-677-3407 Carla Rivera, Staff Writer Los Angeles Times [email protected] 213-237-7116 Stephen Ceasar, Reporter Los Angeles Times [email protected] 213-237-4539 Mark Conley, Asst. Sports Editor The Mercury News [email protected] 408-920-5698 Joe Lago, Managing Editor Yahoo! Sports [email protected] 310-907-2981

Larry Graham, Exec. Sports Editor San Diego Union Tribune [email protected] 619-293-1820 Mark Plenke, Adviser Cal State Univeristy at Chico [email protected] 612-615-5423 Jessica Retis, professor Cal State Northridge [email protected] Louise Tutelian, reporter New York Times [email protected] Jorge Casuso, editor Santa Monica Lookout [email protected] Alex Cohen, reporter, anchor KPCC Pasadena [email protected]

9. Describe any program response to advisory board recommendations. Give specific examples. NA

D. Program Improvement

Part 1: Looking back

1. Note the status of the previous year’s objectives. NA

2. List accomplishments, achievements, activities, initiatives undertaken, and any other positives the program wishes to note and document.

Journalism students from J 16, 17 and 22 earned more than 40 awards at both the state and regional contests sponsored by the Journalism Associated of Community Colleges. In addition, a few students earned regional and national recognition from contests sponsored by the Los Angeles Press Club and the Society of Professional Journalists.

As part of my Chair of Excellence Project the initiative to digitize all the paper archives of the Santa Monica College Corsair is nearing completing and is targeted to be online by the end of spring semester, 2013.

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3atpierce%40scpr.org

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aStephanie.bluestein%40csun.edu

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aCarla.rivera%40latimes.com

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aStephen.ceasar%40latimes.com

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3amconley%40mercurynews.com

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3alago%40yahoo-inc.com

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aLarry.graham%40utsandiego.com

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3amplenke%40csuchico.edu

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aJessica.retis%40csun.edu

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3aLtutelian%40earthlink.net

https://email.smc.edu/owa/redir.aspx?C=tUOVIjToNEebJt1vOKYPsijVmwsJE9AIAO06zpxBy_LJ-w8Mldfq0A9TDjGZNRy-f00b7H3Uldw.&URL=mailto%3amail%40surfsantamonica.com

The Corsair successfully transferred its online news site from a restrictive content management system to the industry standard of a WordPress site so that students working on the news site will now gain valuable experience that will enhance their job skills.

3. Summarize how the program or service area addressed the recommendations for program strengthening from the executive summary of the previous six-year program review.

The last 6-year review was 2008. At that time one area of concern was the planned move of the journalism to an off-campus location. This move has been delayed.

Another goal was outreach to the local high schools and their journalism programs. It was determined that Cal State Northridge holds a high school journalism day in the fall and I plan to participate in this program as a way of reaching out and recruiting local high school journalism students.

Another goal was to develop better local contacts in professional journalism and I was able to do this by attending a few local journalism events in fall, 2012 and developing new connections with professionals who have expressed interest in working with journalism students at Santa Monica College.

4. Describe any changes or activities your program or service area has made that are not addressed in the objectives, identify the factors that triggered the changes, and indicate the expected or anticipated outcomes.

One objective and goal not previously addressed in a report is better integration of existing journalism courses with each other, and also facilitating relationships with other related media courses in our department and also outside the department. There are also opportunities to consolidate journalism and broadcast programs and fuse these courses in to one program.

5. If your program received one time funding of any kind, indicate the source, how the funds were spent and the impact on the program (benefits or challenges).

The program received a very generous Perkins grant last year and this was used to purchase new iMacs for the Corsair newsroom, Letters and Science 172. This has had a tremendous impact on students as the new computers have stabilized our computers and allowed students to make full use of software programs that benefit them such as ones that allow for graphic design, as well as video, audio and photo editing, important career and technical skills for our students.

6. Describe any grants, VTEA, or other funding received since the last review [in the past year] and how it was used to improve the program.

See above

7. If applicable, note external factors that impacted the program (e.g., licensure requirements, state or federal requirements, CCCO mandates, regulations, etc.), and any changes the program made as a result.

NA

8. Describe faculty engagement in activities, training, or professional development to remain current with industry trends.

I have continued training in multimedia software programs including Final Cut, InDesign and WordPress. I attended several journalism workshops in the past year, including an event at Yahoo! Sports and a journalism summit at Cal State Northridge, where I connected with area professionals and educators and kept up with major trends. I attend the state and regional conferences of the Journalism Association of Community Colleges where issues affecting journalism and journalism education are presented.

9. Describe departmental efforts to improve the teaching and learning environment. There is a strong support network within the department where issues relating to teaching are often discussed. Whenever possible there is department support for issues like use of smart classrooms and other teaching needs. The DLS, used for Multimedia Reporting class, has been found to enhance student success and greatly improves the learning environment.

10. If there is a tutoring component or other learning support service associated with the program, describe the relationship between the service(s) and the instructional program. If applicable, discuss any data you have compiled regarding student participation and the impact on student success.

NA

Part 2: Moving forward

1. Discuss and summarize conclusions drawn from data, assessments (SLO, SUO, UO), or other indicators identified in Section C and indicate any responses or programmatic changes planned for the coming year(s).

Plans are to finalize the TMC for journalism at SMC, develop a family of classes for the programs repeatable courses such at Journ. 16.

2. List the objectives or target goals your program or service area has identified for the coming year. Indicate the number of objectives identified. ___1____ Use the comments section to indicate the reason for the objective (assessment results, changes in data, changes in external factors, etc.). Indicate how each objective or goal links to the division goals. Boxes for reporting three objectives have been included here. Please copy and insert boxes if additional objectives are proposed.

Objective 1:

Redesign of curriculum to unite broadcast and journalism areas

Area/Discipline/Function Responsible:

Assessment Data and Other Observations:

SLO Assessment Data

and/or

SUO Assessment Data

and/or

UO Assessment Data

TIMS Report Data

Institutional Research Data

X Other data or observed trends (briefly describe in the comments field below)

This reflects visible trends in professional area

External Factors:

Program Review Committee Commendation

Program Review Committee Recommendation

Program Review Recommendation for Institutional Support

SMC Strategic Initiative (indicate specific initiatives in the comments section below)

SMC Master Plan for Education Objective #___

x Advisory Board Recommendation (for CTE only)

Other Factors (briefly describe below):

Timeline to accomplish the objective: one year

Describe how objective will be assessed/measured: New courses or curriculum changes would be implemented

Comments:

Curriculum Review

The Program Review annual report will note whether course outlines are up to date

1. Discuss how the department reviews, revises, and creates new curriculum. Include the following information:

• The process by which department members participate in the review and revision of curriculum. • How program goals and SLOS are integrated into course design and curriculum planning. • The relationship of program courses to other college programs (cross-listing, overlapping content, • The rationale for any changes to pre-requisites, co-requisites and advisories. • How the department ensures course syllabi are aligned with the course outline of record.

The department followed guidelines from the college as to how curriculum areas are handled. This semester all SLO’s are being reviewed and updated as needed for journalism.

1. Discuss the role of the advisory board and other industry bodies or input in updating curriculum to meet

industry standards and the needs of students. An advisory board is very helpful in guiding faculty in areas of teaching and course development. This relates to suggestions from board members as to what skills future journalists should have when entering the work force as well as indications from upper division faculty at area transfer locations as to the skills needed to succeed when our SMC journalism students get there.

E. Community Engagement

3. List the engagement of program members in institutional efforts such as committees and presentations, and departmental activities.

The Chair of Excellence project to digitize the Corsair archives has been a major three-year project in conjunction with library staff that will greatly benefit the college community and institutional efforts in profound ways. The Corsair archives date to 1929 and have been only available in the reference section in paper form. The digitization project will make more than 80 years of reported history of the college immediately accessible and easily searched and accessed by having searchable texted PDF’s available on a public website. The uses for this resource are many and extraordinary.

4. If applicable, discuss the engagement of program members with the local community, industry, professional groups, etc.)

See above sections—this question repeats information

5. Discuss the relationship among and between full and part-time faculty, involvement of part-time faculty in departmental activities, and part-time faculty access to resources and support.

Could be improved as it is often difficult because of schedules to meet on a regular basis, but part-time faculty do good job of instructing students and fostering their interest in journalism at SMC and beyond.

F. Future Trends, Program Planning, Conclusions and Recommendations The following items are intended to help programs identify, track, and document unit planning and actions and to assist the institution in broad planning efforts.

1. Present any conclusions and recommendations resulting from the self evaluation process. Could better develop relationships with part-time faculty;

--Set up TMC for journalism

--Develop new curriculum

CURRENT TRENDS, PLANNING, RECOMMENDATIONS

2. Identify any issues or needs impacting program effectiveness or efficiency for which institutional support or resources will be requested in the coming year. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request support or resources through established channels and processes].

Publicizing the existence of the digital archives;

3. If applicable, list additional capital resources (facilities, technology, equipment) that are needed to support the program as it currently exists. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request resources through established channels and processes].

There are always needs for equipment for multimedia production and that would include the purchase of new video cameras, still cameras and related equipment such as microphones and lighting.

4. If applicable, list additional human resources (staffing, professional development, staff training) needed to support the program as it currently exists. [This information will be reviewed and considered in institutional planning processes but does not supplant the need to request resources through established channels and processes].

A lab assistant for the newsroom would be a big bonus.


5. Projecting toward the future, what trends could potentially impact the program? What changes does the program anticipate in 5 years; 10 years? Where does the program want to be? How is the program planning for these changes?

Journalism and journalism education are rapidly changing—it is necessary to keep an eye on these trends to keep up with the relevancy of the SMC journalism program. Now though I think the program is well-placed to keep up with demands on the workforce and transfer requirements.

6. If applicable, list additional capital resources (facilities, technology, equipment) that will be needed to support proposed changes.

Could always use more multimedia production equipment as these become outdated very quickly—items such as cameras, recorders, microphones, lights, etc.

Mobile production devices are the next trend.

7. If applicable, list additional human resources (staffing, professional development, staff training) that will be needed to support proposed changes.

8. If applicable, note particular challenges the program faces including those relating to categorical funding, budget, and staffing.

9. Please use this field to share any information the program feels is not covered under any other questions.

Appendix A: Advisory Boards Agenda and Minutes

BROADCASTING: PROMO PATHWAY Advisory Committee: December, 2009-February, 2013

February 21, 2013, 2:30-4:00pm NOTES

12/2/09 Meeting Notes

Present: Stu Weiss (Studio City, by phone), Ola Kudu (formerly BET, by phone), Jill Lindeman (Promaxbda), Veronica Davidson (Disney), Brian Dollenmeyer (Fox), Jim Vescera (NBC), Jonathan Block-Verk (Promaxbda), Jonathan Mooney (SBCC), Drea Besch (CNN), Rebecca Goldberg (SBCC) SBCC’s Report Out from Individual Meetings:

• See “Building a TV Promo Career Pathway: Important Industry Insights” – a report developed by SBCC based on their findings from individual meetings with committee members and their staff

• Main Industry Insights: o “Preditor” job classification is not entry level we should be preparing our students to move

into production coordinator, production assistant or assistant editor positions o X-Factor/Qualities program candidates should have:

Change the order of the qualities listed in the report. Most important are: • Interest in shooting and cutting video; look for youth with experience editing on

YouTube • Design sense • Time management skills • Initiative/self-starter • Sense of rhythm and timing/wide music interests

o Need to expand our employer base In order to find 30 jobs for our students, we’ll need a lot of employers and probably

promo/advertising houses From conversations with staff at various networks, it was recommended to add in a

concentration on graphic design to the career pathway. However, once this was presented at the meeting, the committee resoundingly agreed that this concentration does not fit into the promo editor career pathway as it is its own career. Our students, however, should get exposure to graphic design skills and programs and be “graphic savvy”

SBCC, with help from the committee, will expand its list of employers and strategize ways to engage them

o Internships/mentoring are critical Make the internships long enough for them to be helpful Internships would provide broad exposure to the TV world and provide more formal

apprenticeships in promos Feedback about barriers to developing an internship:

360 N. Sepulveda Blvd, Suite 2075, El Segundo, CA 90245

Building a TV Promo Career Pathway

http://www.sbaycenter.com/

• NBC – no barriers, may require the students to get credit if not paid • CNN – needs a little time and can alert their HR team • Disney – established internship program, may need to talk to HR to integrate this

program • Pick a good time of the year – not summer for Studio City (timing doesn’t matter

for CNN, Disney or NBC) Presentation of Promo Pathway/Proposed Program Design:

• Provide exposure to all skills with the opportunity to major in one discipline (editing or producing) though there is still no real decision on whether to offer a major or not

o Originally, we were thinking of offering concentrations in graphic design and sound design, however, the committee decided these areas should be skills the students are exposed to but they would not focus on them Graphic design – some felt this still could be a viable option relating more to the BDA

side of PromaxBDA • Outreach/Recruitment/Assessment includes:

o Pop culture assessment o Assignment where they have to shoot and edit something or give them footage that they need

to edit; don’t focus on being able to shoot too much but it’s ok as an assessment test for their creativity and storytelling abilities; look for kids who have edit footage on YouTube Put together a committee to rate editing assignments Could set up a website with footage for the students to use and edit (similar to how

Black Eyed Peas set up a website for fans to remix their songs and enter a contest) o SBCC to formalize an assessment process to share with the group o Recruit participants’ from SBCC’s Urban Arts Academy (young people who were “tag bangers”

who are given formal art and graphic design training for their talent o Some debate about the ideal age of participants: most of the group wanted to target 18-24

year olds with more focus on those closer to 24 yrs. (for higher levels of maturity), though Studio City prefers students who are 18-21 yrs.

• Basic Skills Remediation at community college, free for students o Intensive basic skills classes for about 12 weeks – designed to bring students’ grade levels up by

at least 3 grade levels or to basic skills proficiency • Exposure/Intro to Promo Skills

o Writing, producing, graphic design and sound o Could be at Video Symphony or a Community College o Intensive delivery model – 5-6 days/week; 4-5 hours/day

• Discussion around selecting a concentration or not: o Take out graphic design and sound design concentrations o Editing – learn to edit your own project but also edit other people’s work

To give them the best chance of getting a job, students should be proficient editors o Will failure in one area prevent them from moving up? No, especially if they have talent in

other areas. o Can you fail out of this program? Yes, it is a competitive program but what constitutes

“success”? o What is the purpose of the program? To produce preditors or writer/producers and editors? o Do we drill down on editing and how far do we go?

Decide how much all preditors need for editing and then provide the option for more editing if they want it

Goal for the program: All students can do a rough cut coming out of the program (though “rough cuts” mean different things to different networks/employers)

Talking about an “emphasis” on editing or writing vs. a major or concentration • Promax Certificate – 4 week, intensive class for “preditor” skills (integration of skill set)

o Think out details in a future meeting • Internship/Mentoring – happens parallel to coursework after remediation • General question posed: Is the “industry” ready to accept individuals without a college degree? Is it a

trade? o Doesn’t seem to matter b/c this promote training has not existed before and it’s tailored for the

business o Internal HR policies can be changed so non-college grads are not weeded out immediately

Editing Skill Set: • Final Cut vs. Avid need experience in both

o High end editing is on Avid (trailers) o Avid Express is now on laptops o Do both if it’s not cost prohibitive, Final Cut if we have to choose

Another option could be sending the students to Avid school at Video Symphony later in the program, but give them Final Cut Pro so they have it on their laptops and can work on it from home

• ALL STUDENTS – exposure should be 4 weeks x 30 hours/week = 120 hours o Hands-on experience is ongoing

• OR ALL STUDENTS – 2 semesters of Avid/Final Cut Pro with hands-on throughout and project based learning throughout the class

o After 2 semesters, they should be able to produce a rough cut (need definition of rough cut) o Within 2 semesters, maybe first 40-60 hours are just editing (like a pre-requisite)

• Linear Systems – exposure is important, but only go in depth for an editing concentration (could be 8-20 hours or 2 days’ worth)

• Sound Design exposure to Pro Tools or Sound Track Pro (similar to linear systems – 2 days which includes technical language)

Writing/Producing Skill Set: • 1 semester of basic TV production/on-set production (about 150 hours)

o Professional communication should be included but taught as a necessary skill set for producing o Some felt this could be more than is needed; we really need a class in learning how to produce

(not just on-set production) what’s missing is relaly learning how to be a producer – coordinating, getting approvals, working with graphic folks, producing something, meeting with various types of people, screening the show, etc.

• 2 semesters of copywriting/TV and big picture writing/concepting – this is as core as editing o Integrate TV promotion/marketing/advertising concepts (1 semester of contextualized

writing/marketing o Copywriting includes learning to pitch/write a brief o Original script writing (the big idea) – ability to communicate creative thinking

Difference between copywriting and scriptwriting • Copywriting – what’s being said by talent, voice over, etc. • Scriptwriting – cue sheets (includes what else happens and not just what’s said)

Graphic Design Skill Set: • 120 hours total – teach design thinking/language and learning the technology (able to manipulate a

graphics package and able to use Adobe Creative Suite) o Exposure to Adobe Creative Suite with hands-on experience – 80 hours (2 weeks) o Exposure to Design/Animation thinking – 40 hours (1 week)

Sound Design Skill Set: • 80 hours over 2 weeks

o Integrated into program and includes voice over skills Promax Certificate:

• Revisit in more detail at a future meeting o Integrates preditor skill set o Complete certificate with each student having their own reel o Opportunity to pitch their work to committee members for jobs at end of program

General Timeline: • Recruitment could start in February/March 2010 and the basic skills remediation would begin in mid-

summer Other Ideas:

• At the Promax convention, we could have the students attend the first year as interns and help put on the event (for example, help input info on the awards). The second year, they could attend as “professionals”

Commitments and Next Steps:

• SBCC to rework the program design, hours and budget needed • SBCC to formalize an assessment process for the potential students • Committee members report back the number of interns they can handle and how long they can keep

them on as well as the ideal number of hours/week they would work o Collect this feedback from the entire committee but also other employers (like Warner Bros.)

AGENDA June 22, 2010

Present: Marshall Hites, Jonathan Mooney, Frank Dawson, Jonathan Block-Verk, Swampy Hawkins, Veronica Davidson, Martin Goldstein, Jim Vescera, Ola Kudu, Sandra Sanchez, Jay Curtis, Robert, Gottlieb, Tricia Ramos, Brian Dollenmeyer, Drea Besch Urban Arts Academy Update

• Work to date: Finishing up the visual art stage of the program: culminated into a mural designed for the PromaxBDA conference

• Upcoming Art Show – July 8th at SBCC’s Wilmington Empowerment Center, 8-10pm, 626 Avalon, Wilmington, CA 90744

Promo Pathway Development • Funding: CalGRIP grant submitted & received for $500,000!!!!

o Need to connect with WGA & NABET Jay will help WGA and Robert will help with NABET

• Review of Work Groups’ work on 4 Strands (Producing, Writing, Editing, and Business of Promo)

o Handed out notes from the 4 work groups o Business of Promo – Promo touches every part of the business and company, research

• Presentation of Course Outline from SMC o Santa Monica College, Communications Department – Film, Broadcasting, Journalism,

Communication, and Speech, and Screenwriting o Chair, Frank Dawson – started as assistant film editor at CBS and learned how to produce

promos by working with the promo editors, got one of the first permanent promo positions at CBS, advertising experience from radio, excited about the focus on non-traditional students

o Business, writing, producing, and editing promos: SMC had many courses in-house that could be adjusted:

o Communications Dept. moving into new building on campus to be combined with graphic design (brand new state of the art facility will be ready in 3 years) and will be connected to KCRW

o Selected courses by SMC for curriculum: Principles of Project Management turn it into the Business of Promo, including

history and place of promo to sell shows, how to get an assignment, “paper to air”, include time code and frames

• Could offer business of promo for a 6 week session in winter on its own Beginning Scriptwriting – could easily focus a section of this class on writing promos

and commercials Broadcasting Workshop (producing) – includes promos currently but also teaches

how to write commercials, announce and understand announcing on radio and TV, how to introduce promo

• Haven’t talked about radio yet, but it is a natural spillover Digital Video Fundamentals – basic editing, includes Final Cut Pro, mechanics of

editing, includes Aftereffects • SMC currently supports Final Cut Pro on campus

Broadcasting Workshop – 2nd round of producing (Fall Semester) Digital Video Editing – 2nd part of editing course Broadcasting Internship – course connected to internship opportunities 6 week summer session – could include an internship component

o Initial Reactions: Difficult to balance all the skills at the same time, but they do need to know

everything and how they fit together Faculty externship – Frank could go visit the various companies to observe their

writer, producer, editors this summer 1st Semester – 50,000 ft. view of Promo 2nd Semester – concurrently – beginning writing, promo production, and editing

fundamentals 3rd Semester – builds off these skills

o One instructor or various instructors? – more than one instructor Would be best to have one person shadow the cohort and make the connections

between classes, cohort will need a mentor to work with the students; the instructors would work with SBCC student support specialist to make sure the students are progressing; instructors would work as a team

Role of industry professionals? Very integrated! We can have guest speakers and instructors

Who will be teaching these classes? Can the promo committee help contribute and prepare the instructors?

• Committee members are committed to helping and providing staff as needed; would serve as advisory board

• Outside instructors – based on experience to qualify instructors • PromaxBDA can help to document conference sessions that may be great

lessons for the classes Credit or not for credit – curriculum needs to be vetted through SMC which takes

time, approval process for for-credit program takes longer; decided to pilot the program as not for credit course and then be converted to a for credit program; once for credit, anyone can register for the class; these courses will initially be closed to only our pilot cohort so that we can try it out, get feedback and adjust curriculum for the next cohort

• Students will earn a Certificate of Achievement (half an AA degree) – could develop an AA degree that this is embedded; certificate will be approved by Chancellor’s office; need to prove there’s a labor market demand for these jobs;

• 1st pilot will not get college credit for the program; but if we decide in the future that these students are qualified for a degree, we could get them the credit that they earned later

• Students are selected by SBCC/promo committee • Still have a question about whether any companies would have trouble hiring

individuals without degrees; we all will need to communicate with our HR departments so they don’t screen out these resumes without a college degree

o Will an individual without a degree be cut off from advancing within the industry? No, if someone was exceptional, a lack of college degree wouldn’t hurt them. Is it realistic for the students to go back to school? Depends on how much money they’re making.

o Do any companies encourage further education? Yes. o It would be a shift in the industry to start thinking about the work as a

vocational trade o All committee members should double check to see that no degree

won’t be a barrier to getting these students jobs • Are the positions in house or freelance? Both, and it depends on the

company • These students may not enter the industry as a writer or producer, but may

be a production assistant (those students could take it upon themselves to work in editing bays at night, for example)

• This program could probably feed into jobs at local stations rather than networks

• Is this program “meaty” enough to prepare the students? Yes, b/c there is no training like this that already exists; also helps promote this profession

Overall reactions to curriculum – with a healthy dose of guest speakers; who the instructors are will be critical, but this does cover all the areas the committee has discussed

• Students will have completed several promos during the program: their first demo reel

• Editing curriculum – barrier for entry is technical skills in editing for preditor; how fundamental will the instruction be? Who will be teaching this?

o Majority of instructors teaching editing are working editors with industry experience

o Final Cut Pro will be a great training ground for the industry and they could easily learn Avid if needed for their job; Avid & Final Cut Pro would probably come to the college and offer training courses if we requested it; PromaxBDA is working on getting an $800,000 donation of Avid equipment; WB also offered access to Avid; if students can write and work on Final Cut, people will be tripping over them to hire them and teach them Avid (proficient editors can pick it up in a weekend)

• Trailers did not show up in the curriculum and Trailers are a long promo – still relevant to television and promos (could be identified in the Business of Promo) – could integrate assignments in the 2nd class on editing where they work on trailers or sales presentations, up-fronts, various presentation formats

Internship & Job Outlook • Design of Internship Program

o Ideal duration: one semester or a summer (at least 3 months) o Could include time in various aspects of the promo department: current programming,

national promotion, affiliate promotion, etc.; have them meet with every department within the division, ask them to put together a presentation to get their best marketing and promotion ideas (companies learn from the interns)

o CBS has the Eye Lab – young people putting together presentations for the internet (CBS.com) using Final Cut Pro, great place for them to intern; Fox has a similar group all on Final Cut Pro

o SMC has an hours requirement, but the department chair can decide on the design and requirements, depends on the learning outcomes for the internship

o Paid internships? Fox may do this, CBS recently stopped paying (though they hope to start paying again), course credit would be required (SMC proposed 2 unit internship – similar to a one semester class); will be a structured environment where the students will be submitting assignments to instructors (internship will be for-credit)

o Selection process for interns? Might be worthwhile to have a competitive process where the students need to interview for positions and start preparing them for the business world

o Might be best to have the internship not coincide with other courses; on average, you don’t exceed a 20 hour work week so they can go to school as well Full-time internship or should they go to school part-time and work part-time? We

could do a full-time internship and then also have the students come together as a group to talk about their experience

Best to have it be half-way through the program or at the end? Good to work half-way through, go back to school, and then go back to the internship

o At the end of the first part of the program or at the end of the program – there should be a celebration, presentation of their work and maybe a screening of their work

• Hiring Outlook: Timeline – January 2011 start, January 2012 – we’ll be looking for 25-30 jobs o Invite Trailer Houses, Stu can help us connect with other promo shops, local affiliates,

production companies o Committee members should contact folks first and then pass on their contact info to

SBCC/PromaxBDA (invitation from PromaxBDA would work well) o Press Releases to the industry and get the companies to compete with each other to hire

these youth; HR interested in diverse candidates • PR for program: announcement of initiative at PromaxBDA conference

o PromaxBDA has a daily briefing and magazine o We are ready to start formally promoting this program!

• Bringing in additional employers Commitments and Next Steps: late September, goal for meeting: come with a specific course outline with instructors or nominating ideas for industry instructors

February 9, 2012, 2:30-4:00pm

NOTES

Attendees: Katerina, Febe, Martin, Mario, Miracle, Frank, Tricia, Rebecca Updates on Promo 1 Students

• Job Placements/interviews o 3 in full-time positions o 2 in paid freelance positions o 1 in paid internship o 3 in unpaid internships o 4 enrolled in SMC o 11 students not in school, internship or position but many are interviewing o Rahim (who was hired at the beginning of the program) finished his year as production assistant and

was just hired as production manager at NBC for his next position o One student hired by Studio City before he could even be let into the program (Chris Rogness)

• Challenges around professionalism/interview preparation o Miracle and Tara from Hallmark Channel did an interview workshop for the students and it was very

beneficial and they’re doing another workshop tomorrow o An executive is going to do a workshop on integrity and ethics to help students respond better to

offers when they’ve already made a commitment as well as around what students are able to save and not save on the job (files)

o Promo 2 – offer workshops led by executives throughout the year (not just at the end) o Miracle and Febe should meet with Sherri about the classes that the remaining 10 students need

• Update on students’ interest in continuing education for AA degree o Jessica, Oleg and Hugo want additional classes

Classes start this Monday so it would be very difficult to get them in at this point Frank met with Oleg this morning and he’ll be able to get a course equivalent and he’s only

missing one business marketing class that Frank can give him credit for o CSUN television department is interested in learning more about Promo for students who want to

transfer

• Discuss additional classes needed for Promo 1 students o Febe will work one-on-one with the students to help them register for the classes they need and

provide assistance as needed Promo 2 Planning

• Recruitment o PromaxBDA would like to participate in interviews o Rebecca will send out URL for Promo Pathway online application and Promo Pathway website o Require students to bring their unofficial transcripts to interviews o Students can apply online now but interviews won’t start until April o SBCC is working on a recruitment flyer that will be sent out to the group for edits o Febe will be doing Promo recruitment – ALL send ideas of contacts and organizations for her to

present to o Street Film Crew – pre-pathway at Virginia Ave. Park (one day a week) to attract more Santa Monica

youth into the program; most students are from Olympic HS and they get HS credit for it and others from Santa Monica

o Febe will scan and email out the student evaluations to the group • Eligibility

o Need to discuss more in March meeting – income guidelines, age guidelines, etc. • Finalist Day

o 3rd week of May would be best o Interviews in April o Promax Conference – June 12-14th; maybe we could invite the accepted students to the award

show; need to host a professionalism workshop before they attend • Proposed course schedule – Frank’s proposed schedule is 30 units; nigh classes

o Frank is suggesting adding 3 classes we didn’t have in Promo 1 Counseling 16 (Job Success Skills) – could be good to include in the remediation session

during summer (instead of math); would be required for ALL students English (contextualized) will also be offered during summer; we would also require ALL

students to take this since its contextualized Internships? Should we consider placing higher level students into internships in the

summer before classes begin? – could work but we’d need to vet the students first to make sure they have enough skills and that we’re comfortable sending them out to represent us; we would be more comfortable putting them in internships in January

o Math – contextualized math was hard and didn’t really happen as we wanted; could we contextualize it with a business angle? SMC is developing a math non-credit class that will be free for students SMC is exploring a self-paced math product (about $500/student) Does it affect their performance on the job? All the students who got positions were not

basic skills deficient so there does seem to be a correlation We need to assess all students before they’re admitted to the program to know their Math

and English skills but we should use SMC’s Compass assessment o Avid – Tricia still needs quote from Renetta to price out the workshop that would be offered outside

the classes; need number of hours over 4 weeks and when the training could happen – Rebecca to follow up

o After Effects – part of ET 31B but the students seemed to need more so maybe we could work with the instructor to spend more time on After Effects; students need to make better use of their lab time

o Instructor Orientation –we should meet with all the instructors before the program begins so we’re all on the same page about goals and outcomes

o Capstone Class – in Promo 1, it was really just lab time for them to work on their 5 promos; class needs more structure and map to the workflow of promo

o Internship class (Broadcasting 90B) – PromaxBDA wants to make the internship program nationwide so students can go to the east coast for their internships; they will get 1 unit of credit for the course but they won’t need to attend a “class”; would like to see some type of deliverable at the end of the internship (making both the student and network accountable for the internship)

o Writing/storytelling was much more emphasized in this new schedule of courses edited by Frank • Selection for Promo 2

o Assess basic skills o Ability to work in a team o Assess their creativity

• General Discussion o We need to be much tougher on the students and as students don’t deliver, we remove them from

the program to keep standards high o During summer session, Promax can offer workshops and students must show up and be serious o Need to communicate this message of high expectations to the instructors at SMC o Revise the student contract with all expectations – SBCC to bring student contract to next meeting

Open Discussion

• Miami Community College Workforce Conference o Frank spoke to Jane Oates about Promo Pathway and impact its having on the industry –she indicated

that DOL would be interested in funding programs like this o Katerina was able to represent a different industry (television) and the audience was very impressed;

met with Kathy Jo Manis (director of workforce development for AACC) o Interest from Goodwill Industries from their leadership in our program; also talking to them about

Spanish language media program/pathway • Other

Next Steps

• Next meeting – March 5th, 2:30-4:00pm at SMC Bundy Campus o Talk in more detail about admission criteria/eligibility for Promo 2 students

• Miracle and Febe should meet with Sherri about the classes that the remaining 10 students need • Febe will work one-on-one with the students to help them register for the classes they need and provide

assistance as needed • Rebecca will send out URL for Promo Pathway online application and Promo Pathway website • Febe will be doing Promo recruitment – ALL send ideas of contacts and organizations for her to present to • Febe will scan and email out the student evaluations to the group • Rebecca to follow up about AVID workshop quote • SBCC will bring student contract to next meeting for us to edit collectively

March 5, 2012, 2:30-4:00pm

NOTES

Present: Jonathan M., Martin, Febe, Mario, Rebecca, Tricia, Kat, Miracle, Frank General:

• Martin handed out copies of the Promo Pathway Organizing Innovation – all should review and send edits before its finalized

• Rand is hosting a conference on Cradle to Career systems building and Jonathan is facilitating a session, would be good for Martin and Tricia to consider, Saturday, March 17th – let Jonathan know if you can attend

• What institutional change (if any) has Promo Pathway had on the industry? o Creating paid internships at most participating networks/companies was a big change

o Hiring anyone without a BA degree (a couple were hired) Updates on Promo 1 Students:

• Review of Job Placements/interviews • Reflection on efficacy of the program for target demographic

o Older students and then those with degrees (BA level) did the best in the program and getting placed into jobs

o Maturity was not a factor we judged in the selection process o Internship performance – all did fairly well, except Qui – not a determining factor in getting a job o Skill level – mostly needs on the soft skills side vs. technical skills except Avid and writing (could

definitely be stronger) o Uncertainty about sticking with AA degree or pursuing BA degree – preventing some from getting

jobs o Goals – still deciding whether they’re ready to work or want to focus on school

• What’s needed most for the at-risk population to better prepare them? o Most – more professional skills so they know how to effectively work with a mentor o 2nd – writing skills

• Follow up with students pursuing AA degree (without assigned counselors) o Febe will keep working with the students on getting the classes needed and seeing an SMC

counselor as needed o Student transcripts – students didn’t perform well at other colleges they’ve taken classes at and the

students don’t want to use those transcripts b/c the GPA is so low; could be ways for them to avoid it but they have to be open about whether they attended another college which will affect future opportunities for financial aid and loans

Promo 2

• Recruitment o Target demographic/eligibility requirements

Irvine Foundation’s interest is out of school youth (ages 18-24/26) and it’s probably ok to work with older students but they’re not looking for younger students; out of school youth can be individuals in post-secondary with basic skills deficiencies or students who are not engaged in HS or post-secondary

We need clarity whether an SMC student with basic skills deficiency would count Half the students in Promo 1 and most/all the students who were placed in jobs would not

fit the “out of school youth” definition Perhaps we can target more of the older 20’s population who would have more maturity? We should definitely consider veterans, SMC population (targeting students who could

really use extra assistance); consider 1-3 students with a BA degree to help set the bar but it should not be a significant portion of the cohort

Irvine is interested in how you create a pathway from a certificate to an AA degree to a BA degree

• Promo Pathway could work for a BA student who needs the certificate, or someone who needs to finish their AA degree and the certificate gets them there – be open to bringing students back with a degree who need the certificate

• If they are on this longer-term pathway, would be great if we could link those students to longer-term internships that occur over several years kind of like a “fellowship”; Promo 1 students who did great could help coach Promo 2 students

• Broadcast, Marketing & Promotions AA degree – Frank is putting this together (30 content units transfer to the AA; need an additional 30 units at college level for their AA degree completion)

• Could we incentivize students going to ongoing workshops? In some places, the employer requires participation – similar to Year Up’s strategy – Promax would be interested in talking with Year Up to see how they got companies bought in – SBCC to facilitate this conversation

Sustainability – what happens when Promo Pathway is part of SMC’s course catalog? Who is part of the program?

• PromaxBDA got involved b/c of the Diversity Council’s interests in getting under-represented groups into the industry

• Couldn’t we have a cohort program that runs at the same time as the regular Promo Pathway classes in the course catalog?

• Folks from the California Community College Chancellor’s Office are working on priority enrollment policies for groups of people (it’s currently done with foster youth, athletes, EOPS, etc.) this is very hard to do at an institutional level at SMC

• SMC is getting a lot of traction with contextualized basic skills coursework Goal of the program is still the same – to work with underrepresented folks to find living

wage jobs in the industry and for the TV industry to become more diverse What would happen if we market the program as an AA degree with a certificate embedded

in it and if folks being able to leave for a job at the end of the certificate? • Probably would appeal to younger students who don’t have a degree yet • Would be great to have the students continue their education together in the long

term to provide the social capital Next Step SBCC will clarify with Irvine Foundation who fits the out of school youth

population o What would we do differently to select and/or prepare the students?

In the first cohort, we focused a lot on creativity as an X factor…storytelling was an important skill for those who got placed; character is an important factor

o Recruitment progress/current applications 89 applicants thus far

o Recruitment flyer – PromaxBDA will make final changes and send out to the group to start using o Recruitment strategies

Looking at the recruitment org list from Promo 1, it’s heavy on the high school side – look at National Hispanic Media Coalition, NALIP, NAACP, Urban League, Hispanic Chamber of Commerce, NALEO, Educating Young Minds (alumni network), CSU Career Centers (Miracle can send contacts), Advertising Industry’s internship program, diversity foundations in the industry might be helpful, Writer’s Guild, Producer’s Guild, USC, UCLA

• Internship program - tabled • Mentorship program - tabled • Plan for professional skills development - tabled • Discipline policy - tabled

o Review and edit student contract • Partner communications/roles - tabled • Post-pathway plans for students - tabled

Next Steps

• Next meeting to focus on Assessment/Selection criteria for Promo 2: April 2nd, 1:00-3:00pm (SMC providing lunch) at Bundy and we’ll need a conference line available for Jonathan, Room 421

• SBCC will clarify Irvine Foundation’s definition of out of school youth and who is eligible for the program • Febe will send PromaxBDA the student contract so they can insert language around the internship and

mentor program

• SBCC to facilitate conversation between Year Up and PromaxBDA about how to incentivize ongoing professional development once students are working (incentive from the employers)

April 25, 2012, 1:00-2:30pm Notes

Present: Tricia Ramos, Febe Soliman, Miracle McClain, Rebecca Goldberg, LaFern Cusack, Katerina Zachariah, Martin Goldstein, Mario Franco, Frank Dawson Update on Promo 1 Students

• New job placements o No new promo placements because students are still in school or because the positions are too high

level except Fernando was able to turn his paid internship into a full-time position at Style! o Hugo and JR are working for SBCC in the Urban Arts Crew

Promo 2 Assessment/Selection

• Clarifying target demographic o Out of school youth who need assistance in attaining a degree, students in community college

without direction who need more support, 17-26 years with some flexibility for maybe a group of 5 students to reach an older or more experienced demographic

• Recruitment Update o 137 applications total; about 80-85 in the target demographic o Febe is on campus at SMC this week and on Monday recruiting more students near the

Communications building o Inner City Filmmakers – great students who fit our target demographic who are already trained in

Avid, had to compete to get into their program, and they have an Avid studio; Kat met with their Executive Director and several students have applied

o Frank and Tricia will make a last push on campus for recruitment • Student Interviews

o Review of interview process from Cohort 1 Last year, we interviewed about 150 people of the 300 applicants and designed the process

to identify creativity o Suggestions for adjustments to interview process

Interview should include scenario questions regarding problem solving to measure their integrity and ability to approach a problem – Kat to send some question ideas by April 30th

Add a question to see if they are first generation college students Change language to “promo writer/editor/producer” and not “promo editor” Personal statement- make a bit more broad to be “why do you want a career in

entertainment marketing”? Define television marketing/ advertising and explain how Promo Pathway can funnel you into these positions

In the interview, explain the academic rigor of the program What does your personal brand stand for? How do they identify themselves. If you had a

personal slogan, what would it say? Pop culture survey – take out question 7 Include a question about access to transportation What do you think the future of television is and what do you see as your role in television’s

future? Check in on students’ access to technology Check on students’ status with financial aid

o Judge scoring sheet – Promax will make edits by May 24th

Change to 1-5 scale Have boxes (not line) Add in question about story arc

o Interview schedule – first 3 weeks of May, SBCC will be conducting interviews • Finalist Day

o Review of Finalist Day from Cohort 1 Students came in early to work on their same day challenge Change the Promo Branding challenge to be done in teams; do an individual challenge first

and then have them do a group challenge in front of the same judges Develop a hypothetical TV network/online platform and see how they would brand it -

Promax to work on the case study by May 24th – provide this assignment 48 hours before the finalist day with guiding questions; students need to bring the case study printed with them; what media platforms would they use to market the network?

o Date & Time, logistics team – Saturday, June 2nd Last year, judges arrived at 11:30am and it was finished by 4:30pm, let’s shoot for a 9am-

2pm timeframe this year Febe & Miracle to work out all logistics of the day

Mentorship

• Starts with Fall session Access to Technology

• Maybe we can get laptops sponsored for the students so they can use them for their final project – Promax to look into this; students can use their financial aid to be augmented for a laptop with all the software they need

Classes/SMC • Summer Session: English and Counseling class; maybe we could use the 1st floor interactive room at Bundy

Campus for these classes; Tricia and Frank to follow up o Counseling/Job Success Skills class – taught by young, African-American professor who is really excited

for the program (Chris Baccus) o Use the summer counseling class to get them enrolled with all student services (financial aid, transcripts,

enrollment, etc.) o Counseling is one day/week and English is 2 days/week (Tues/Thurs); 6-9pm

• Start date: June 18, 2012 • Winter and summer sessions while campus is closed? • Avid – AET is interested in starting to use Avid, Frank is working on this • Orientation with the faculty – week of May 21st & Frank will get back to us with a date

o Includes SBCC & PromaxBDA • Internship – part of certificate program so graduation would be after the completion of the internship; Frank is

the Instructor of Record

Discipline policy • Review edited student contract with policies related to mentor and internship programs; discuss

consequences o Add a bit more detail about professional attire o Add in recognition that they are aware of SMC’s policies (provide a URL to the policies); instructors

and/or counseling should also review the policies

PromaxBDA Conference – June 12-14th • Creative Educators Forum – highlighting partnerships, June 12, 9am-12pm – all partners should plan to

attend

• Bring the new cohort to the Awards Ceremony – evening of June 14th • Next year’s conference will be in LA again and will fall right after classes end and before internships start so

it will be perfect for the students to complete the Promo Bootcamp Next Steps

• PromaxBDA to send scenario questions for the student interviews by April 30th • PromaxBDA to revise the judge score sheet and hypothetical network scenario for the Finalist Day by May 24th • Tricia & Frank to figure out where classes will take place over the summer (Bundy vs. AET) • Finalist Day is Saturday, June 2nd at AET from 9am-2pm • Febe & Miracle to work out the logistics for the Finalist Day • Frank will confirm date of faculty orientation (week of May 21st) and will include SBCC & PromaxBDA • Febe will make edits to the interview and finalist day paperwork • Promax to explore getting laptops sponsored for the students • SMC will explore utilizing financial aid for laptops and software • SBCC & Promax to meet to finalize the student contract - Monday, May 14th, 3:00pm at PromaxBDA

October 30, 2012, 2:45-4:15pm

NOTES Updates

• Progress on Promo Certificate Approval/Curriculum Committee o Moving along slowly but will be done by the end of this year and will then go up the flagpole for

approval • Promo 1

o Fernando Castro – did poorly in his NBC internship, poorly handled his internship; did another internship for Style; Reelz wanted to hire a Promo Pathway student for Associate Producer and Fernando was hired by Reelz (flew him out and paid for 30 days in a hotel), his mom got sick and told the CMO/EVP of Reelz that he needed to move back to LA to help his family; he asked Reelz to pay his relocation expenses after quitting and for his reel and recommendation – Reelz is not happy but will speak to the next cohort; Fernando was told to take PromaxBDA off his resume

o Cynthia Magano – was placed as an admin. assistant at a small agency, Ether (not a creative job) and she left the position last week after a month

o Lesson Learned Students can’t take jobs b/c they need money – they need to be taking positions b/c they’re committed to the position and agency Counseling class should have included more scenarios that test integrity with real life scenarios

and have guest speakers who can talk about tough situations when they need to let people go Think about setting up a tough interview panel with folks in the industry; how to stroke your

boss and get the boundaries you need Could do a class over Winter Session with HR folks to act as “angry bosses”; 6 week course, 2

days/week taught by Kat Promo 2

• Student Updates o Grades challenges – Bernie, Terren and a few others o Theresa, Julian, Shanita and Caesar from Promo 1 came to talk to the students o Working on cutting two promos on Final Cut Pro o Some students are starting their own writing circle to share their writing

• Mentor Program Updates o Sierra’s mentor (from CNN) was surprised she hasn’t been more in touch so Sierra should be more

aggressive in getting in touch with her

o If students feel like they could be nagging the mentor, they could cc: Katerina on the email so she’s aware they’ve tried

o In absence of a Winter Session, could students do an internship during that time? (Monique was interested, but she may not be ready) – we don’t have the capacity to place students one at a time before the whole group is ready

• Challenges o Promax Holiday Party & Finals – Febe spoke to Jamie Klein about the students missing class but b/c

it falls during Finals Week, he does not want to cancel class; there will be more opportunities for the students to network with Promax members

o Winter Session Classes (Jan. 7th-Feb. 15th) Kat is interested in doing a Boot Camp on the Art of the Pitch with the students during the

Winter Break Main campus closes at 3pm and doesn’t work for the students Promax is building out their office and the new conference room may work SBCC may also be able to make its conference room available in the evenings and has plenty

of free parking Looking to offer two classes in winter, one for credit (ET2 Storytelling), one for not for credit

(Art of the Pitch) • Storytelling class – Frank needs to find an instructor • Art of the Pitch/Communications class (not for credit) – to be offered by Kat • We may need iPads (for those who don’t have laptops)

• Use of Fundraiser Proceeds (laptops/Final Cut Pro) o No update yet

• Other o SMC has a partnership with City TV and Marcel talked to them about the students doing promos for

City TV o Voice Over talent - One of Frank’s former students is working for Active Showcase with voice over

artists and might be able to make the voice over artists available to the students’ promos Promo 3

• Funding Plan o Certificate/degree in course catalog – students can’t realistically finish in less than 2-3 years in this

budget climate though o 10 classes X $20,000 = $200,000 approximate cost for closed cohort Promo 3 ($8,000/student)

Maybe a company will sponsor a student? Important to do a longitudinal study to track the students (SMC’s institutional researcher could

get involved) Tie into alumni tracking efforts at SMC

o Walter Kaitz Foundation – focus on diversity but they don’t have a project to get behind o Fox Audience Strategy might have funding o Courses in the catalog could be offered in the evening as they are now but SMC can’t guarantee that

scheduling Next Steps

• Next Meeting – Tuesday, Nov. 27th from 3-4:30pm at Bundy • Winter Session location

o Promax will look into their conference room availability o SBCC will look into their conference room availability

• Funding for Promo 3 o Kat will look into the Walter Kaitz Foundation and Fox Audience Strategy as potential funders

• Evaluation – Tricia/Frank will connect with SMC’s institutional researcher and alumni tracking efforts to track Promo graduates

February 21, 2013, 2:30-4:00pm

NOTES Present: Mario, Febe, Rebecca, Michelle, Miracle, Frank, Katerina SMC Contract Ed Office

• Michelle has SMC on the ETPL list for WIA $ and they are looking into getting Promo Pathway onto the ETPL • Per/person cost that’s allowable – based on market needs and since this program doesn’t exist elsewhere, we

could set the cost per/person • This would allow us to enroll low-income students (per WIA) into Promo Pathway and have WIA pay for the

training costs and potentially supportive services; students would be enrolled by a local One-Stop office • We will wait for Promo to be approved as a Certificate and then apply for ETPL

Promo updates/issues

• Storytelling class – students got all A’s & B’s; mostly one concept was taught during the six weeks and we’re not sure we accomplished what we set out to do

o Students expected the class to be focused on promo but Frank’s intention was for it to be broader o Instructor could have had more focus on short-form storytelling and he should have been more

prepared for this content • Frank visited class last week as well as Tony & Theresa from Promo 1; Tony was a good example of someone

who is not a great editor but is great at writing/producing who is able to work with a full-time editor • Bernie interviewed for a marketing assistant position with her mentor’s company but it wasn’t a good fit for her

this time though they will consider her for more creative positions • Sierra – got an unpaid internship with the Tavis Smiley Show at PBS • 9 students applied for scholarships with the SMC Foundation with Febe’s help; waiting on results • Classroom issue – were placed at the main campus but Marcel’s class needs technology, Frank & Mario got them

switched to the AET though the setting was still not ideal and they switched again to a lab though there are only 23 computers (with 24 students) so one student is at a disadvantage each time

o Walt & Marcel are working well together o For future facility issues, Febe should go first to Frank and he will go to Academic Affairs

• Temporary trailers are being installed at the airport campus and it should be equipped similarly to AET 123; business class will be at the main campus

o Frank will meet with the instructors next week about what we need in the promo classes • Challenge with placing international students – our current international student is aware it’s hard to get

sponsorships and was accepted based on feedback from the judges; she is currently working at a post-production company and is trying to build the relationship to hopefully get a job offer (though in reality the company will probably not invest in the green card process); she understands we can’t help her get a sponsorship but perhaps Promax can help her with a European position if she’s interested?

o Agreement to not allow international students into future Promo cohorts

Mentorship/internship update

• Internships – lots of opportunities in LA, NY, Atlanta and maybe Miami but not all students are ready for an internship since most positions are designed for Junior/Senior level university students; many students have disrupted work and education backgrounds

o About 10 of the students seem to be unprepared o Students need a lot more support in resume-writing and telling their story; those students should meet

with Promax to get this help (they’ve been invited next Wednesday & Thursday)

o March 1st would be a good day for an interview skills workshop; March 12th would be good to bring in writer, producers, editors into the class to speak with them

o For the students who are not competitive enough for paid internships, we might consider getting them unpaid internships (if they’re financially able) at agencies and/or SMC will help place them into internships

• Laura Rivas wants to be an editor but has the opportunity to take an international marketing position; Kat has spoken with her and Febe and Frank will try talking with her

• Counseling class (at beginning of the program) should have covered resume writing; we should also look at the off day in the week as an opportunity to continually work with them on resume writing, interviewing, speakers from the industry, etc.

• Local station opportunities are plentiful and we need the students to understand this opportunity to be open to it

o We should ask in the application whether people are willing to relocate o Promax would like to participate in the interview process next time o About 12 students expressed interest in non-local internships but they are concerned with housing o Summer Jams at SMC is designed to help students be open to new experiences

Frank will talk with Tricia about getting Promo 3 students involved with the Jams Capstone Project

• Promax has reached out to networks and got 8 involved to donate footage and will be working on password protection and will offer the footage on Monday, March 4th to students

• We talked about introducing the project in the last 4 weeks of Marcel’s class and the students continue working on it the last 8 weeks of spring

o Marcel should be involved with providing feedback to students (Frank will talk to Tricia about a stipend for Marcel) and possibly have him available to students on Thursdays

o Students would also work with their mentors on getting feedback o Scripts & rough cuts should be submitted to Marcel o Miracle will email both mentors & mentees about how they should work together on the capstone

project • Capstone would be due at the end of spring on June 14th; Mario will reserve a room at Bundy from 6-9pm every

other Thursday where they can get feedback (optional for students) • Student Portfolio night is the first night of the conference in June

Promo 3

• Irvine/JFF has assigned two national faculty members to work with us on our sustainability plan on March 22nd where we could present our draft sustainability plan and get their support/assistance in our work

o March 22nd – Frank & Tricia could be available in the afternoon & Promax is available as well o Who else from SMC can we include in this conversation? How can the President & Trustees who

support Promo Pathway be helpful? • Who on campus can help?

o Teresita Rodriguez is important regarding enrollment but when Rebecca met with her last summer/fall, she did not express an option for supporting cohorts/learning communities at SMC (per their campus culture & experience with cohorts)

• Certificate in the catalog sounds good but in reality doesn’t work b/c no one can finish the certificate in a reasonable time period – this does not help any of our partners

• Success with Promo 3 will help build a story that will resonate in the media industry when we have students getting promoted

• We might want to look at Promo differently for students who already have the technical skills and this could be more of a graduate type of program with promo context and access to the industry (recruit from educational institutions around the country as well as places like Ghetto Film School; look at Community Service model at SMC that was done for film students

Next Steps

• March 22nd meeting with Irvine National Faculty (Mike Sak & Mike Snyder), 2-4pm at Bundy o Sustainability plan ideas – hyrbrid model of individuals paying/some are subsidized, industry support

(through Promax staff), getting Promo on ETPL for WIA $ o Tricia & Frank to talk more about options on campus for lowering costs or finding a funder or other

creative solutions like ETPL; think about SMC Foundation and how they can help with identifying donors o Each partner should write their organization’s goals for the program to see how we are aligned (if we

are aligned) and email that out • Frank will meet with the spring instructors next week about expectations for promo classes • Frank will talk with Tricia about getting Promo 3 students involved with the Jams • Mario will reserve a room at Bundy from 6-9pm every other Thursday for capstone project • Frank will talk to Tricia about a stipend for Marcel to have him available to students on Thursdays • Promax will offer an interviewing skills workshop March 1st and Miracle will share the outline • Miracle will email both mentors & mentees about how they should work together on the capstone project

Present: Mario, Febe, Rebecca, Michelle, Miracle, Frank, Katerina SMC Contract Ed Office

• Michelle has SMC on the ETPL list for WIA $ and they are looking into getting Promo Pathway onto the ETPL • Per/person cost that’s allowable – based on market needs and since this program doesn’t exist elsewhere, we

could set the cost per/person • This would allow us to enroll low-income students (per WIA) into Promo Pathway and have WIA pay for the

training costs and potentially supportive services; students would be enrolled by a local One-Stop office • We will wait for Promo to be approved as a Certificate and then apply for ETPL

Promo updates/issues

• Storytelling class – students got all A’s & B’s; mostly one concept was taught during the six weeks and we’re not sure we accomplished what we set out to do

o Students expected the class to be focused on promo but Frank’s intention was for it to be broader o Instructor could have had more focus on short-form storytelling and he should have been more

prepared for this content • Frank visited class last week as well as Tony & Theresa from Promo 1; Tony was a good example of someone

who is not a great editor but is great at writing/producing who is able to work with a full-time editor • Bernie interviewed for a marketing assistant position with her mentor’s company but it wasn’t a good fit for her

this time though they will consider her for more creative positions • Sierra – got an unpaid internship with the Tavis Smiley Show at PBS • 9 students applied for scholarships with the SMC Foundation with Febe’s help; waiting on results • Classroom issue – were placed at the main campus but Marcel’s class needs technology, Frank & Mario got them

switched to the AET though the setting was still not ideal and they switched again to a lab though there are only 23 computers (with 24 students) so one student is at a disadvantage each time

o Walt & Marcel are working well together o For future facility issues, Febe should go first to Frank and he will go to Academic Affairs

• Temporary trailers are being installed at the airport campus and it should be equipped similarly to AET 123; business class will be at the main campus

o Frank will meet with the instructors next week about what we need in the promo classes

• Challenge with placing international students – our current international student is aware it’s hard to get sponsorships and was accepted based on feedback from the judges; she is currently working at a post-production company and is trying to build the relationship to hopefully get a job offer (though in reality the company will probably not invest in the green card process); she understands we can’t help her get a sponsorship but perhaps Promax can help her with a European position if she’s interested?

o Agreement to not allow international students into future Promo cohorts

Mentorship/internship update

• Internships – lots of opportunities in LA, NY, Atlanta and maybe Miami but not all students are ready for an internship since most positions are designed for Junior/Senior level university students; many students have disrupted work and education backgrounds

o About 10 of the students seem to be unprepared o Students need a lot more support in resume-writing and telling their story; those students should meet

with Promax to get this help (they’ve been invited next Wednesday & Thursday) o March 1st would be a good day for an interview skills workshop; March 12th would be good to bring in

writer, producers, editors into the class to speak with them o For the students who are not competitive enough for paid internships, we might consider getting them

unpaid internships (if they’re financially able) at agencies and/or SMC will help place them into internships

• Laura Rivas wants to be an editor but has the opportunity to take an international marketing position; Kat has spoken with her and Febe and Frank will try talking with her

• Counseling class (at beginning of the program) should have covered resume writing; we should also look at the off day in the week as an opportunity to continually work with them on resume writing, interviewing, speakers from the industry, etc.

• Local station opportunities are plentiful and we need the students to understand this opportunity to be open to it

o We should ask in the application whether people are willing to relocate o Promax would like to participate in the interview process next time o About 12 students expressed interest in non-local internships but they are concerned with housing o Summer Jams at SMC is designed to help students be open to new experiences

Frank will talk with Tricia about getting Promo 3 students involved with the Jams Capstone Project

• Promax has reached out to networks and got 8 involved to donate footage and will be working on password protection and will offer the footage on Monday, March 4th to students

• We talked about introducing the project in the last 4 weeks of Marcel’s class and the students continue working on it the last 8 weeks of spring

o Marcel should be involved with providing feedback to students (Frank will talk to Tricia about a stipend for Marcel) and possibly have him available to students on Thursdays

o Students would also work with their mentors on getting feedback o Scripts & rough cuts should be submitted to Marcel o Miracle will email both mentors & mentees about how they should work together on the capstone

project • Capstone would be due at the end of spring on June 14th; Mario will reserve a room at Bundy from 6-9pm every

other Thursday where they can get feedback (optional for students) • Student Portfolio night is the first night of the conference in June

Promo 3

• Irvine/JFF has assigned two national faculty members to work with us on our sustainability plan on March 22nd where we could present our draft sustainability plan and get their support/assistance in our work

o March 22nd – Frank & Tricia could be available in the afternoon & Promax is available as well o Who else from SMC can we include in this conversation? How can the President & Trustees who

support Promo Pathway be helpful? • Who on campus can help?

o Teresita Rodriguez is important regarding enrollment but when Rebecca met with her last summer/fall, she did not express an option for supporting cohorts/learning communities at SMC (per their campus culture & experience with cohorts)

• Certificate in the catalog sounds good but in reality doesn’t work b/c no one can finish the certificate in a reasonable time period – this does not help any of our partners

• Success with Promo 3 will help build a story that will resonate in the media industry when we have students getting promoted

• We might want to look at Promo differently for students who already have the technical skills and this could be more of a graduate type of program with promo context and access to the industry (recruit from educational institutions around the country as well as places like Ghetto Film School; look at Community Service model at SMC that was done for film students

Next Steps

• March 22nd meeting with Irvine National Faculty (Mike Sak & Mike Snyder), 2-4pm at Bundy o Sustainability plan ideas – hyrbrid model of individuals paying/some are subsidized, industry support

(through Promax staff), getting Promo on ETPL for WIA $ o Tricia & Frank to talk more about options on campus for lowering costs or finding a funder or other

creative solutions like ETPL; think about SMC Foundation and how they can help with identifying donors o Each partner should write their organization’s goals for the program to see how we are aligned (if we

are aligned) and email that out • Frank will meet with the spring instructors next week about expectations for promo classes • Frank will talk with Tricia about getting Promo 3 students involved with the Jams • Mario will reserve a room at Bundy from 6-9pm every other Thursday for capstone project • Frank will talk to Tricia about a stipend for Marcel to have him available to students on Thursdays • Promax will offer an interviewing skills workshop March 1st and Miracle will share the outline • Miracle will email both mentors & mentees about how they should work together on the capstone project

FILM PRODUCTION ADVISORY COMMITTEE MEETING MINUTES July, 2012

Previously Attached Appendices:

Appendix B: Program Review Report Prepared by Office of

Institutional Research

Appendix C: A Guide for using Labor Market Data to Improve Student Success

Appendix D: Radio and Television Regional Program Demand Report

Appendix E: Journalism Regional Program Demand Report

2012/13 program review for communication and … program review for . communication and media...

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