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Evaluating the Process and Product of a Student-Staff Partnership for Curriculum Redesign in Film Studies

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Title: Evaluating the Process and Product of a Student-Staff Partnership for Curriculum Redesign in Film Studies
Language: English
Authors: Bell, Amani (ORCID 0000-0001-6030-651X), Potter, Susan, Morris, Lisa-Anne, Strbac, Mirjana, Grundy, Anniek, Yawary, Mohammad Zaki
Source: Innovations in Education and Teaching International. 2019 56(6):740-750.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 11
Publication Date: 2019
Document Type: Journal Articles
Reports - Research
Descriptors: Films, Teacher Student Relationship, Curriculum Development, Video Technology, Learning Activities, Student Attitudes, Teaching Methods, Instructional Design, Critical Thinking, Units of Study, Outcomes of Education, Assignments, Workshops, Student Evaluation
DOI: 10.1080/14703297.2019.1588768
ISSN: 1470-3297
Abstract: This paper describes a student-staff partnership to design learning activities and assessments for an undergraduate Film Studies course. Four students and three staff designed the new assessments and learning activities to develop students' knowledge and skills to produce a video essay. The new assessments were co-developed in semester one so that students in semester two could experiment, innovate and think critically using the logics and form of film itself. We evaluated both the product (the new assessments and activities) and the process (the partnership). The evaluation of the project was positive, with students enrolled in the unit engaged in the technical and intellectual challenges of this new form of assessment. Student partners brought complementary knowledges and perspectives to the project, while extending their skills and awareness of behind-the-scenes curriculum development processes at the university. The paper provides insights into the benefits and challenges of student-staff partnerships for curriculum redesign.
Abstractor: As Provided
Entry Date: 2019
Accession Number: EJ1230602
Database: ERIC
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  Value: <anid>AN0138909507;hzj01dec.19;2019Oct04.03:14;v2.2.500</anid> <title id="AN0138909507-1">Evaluating the process and product of a student-staff partnership for curriculum redesign in film studies </title> <p>This paper describes a student-staff partnership to design learning activities and assessments for an undergraduate Film Studies course. Four students and three staff designed the new assessments and learning activities to develop students' knowledge and skills to produce a video essay. The new assessments were co-developed in semester one so that students in semester two could experiment, innovate and think critically using the logics and form of film itself. We evaluated both the product (the new assessments and activities) and the process (the partnership). The evaluation of the project was positive, with students enrolled in the unit engaged in the technical and intellectual challenges of this new form of assessment. Student partners brought complementary knowledges and perspectives to the project, while extending their skills and awareness of behind-the-scenes curriculum development processes at the university. The paper provides insights into the benefits and challenges of student-staff partnerships for curriculum redesign.</p> <p>Keywords: Students as partners; curriculum design; film studies; multimodal assessment; video essay</p> <hd id="AN0138909507-2">Introduction</hd> <p>Film Studies students are increasingly being encouraged to think critically about the aesthetics and histories of cinema using the medium of film itself via the video essay rather than the written essay (e.g. de Fren & Hart, [<reflink idref="bib11" id="ref1">11</reflink>]). From 'a film studies perspective, a video essay analyses specific topics or themes relating to film and television and ... comments on film in its own language' (Edith Cowan University, [<reflink idref="bib13" id="ref2">13</reflink>]). This development responds to innovative scholarly practice (e.g. Keathley & Mittell, [<reflink idref="bib19" id="ref3">19</reflink>]) and to transformations in film criticism and culture enabled by digitisation and social media (e.g. Keathley, [<reflink idref="bib16" id="ref4">16</reflink>]). Supporting students to develop the necessary skills and knowledge to produce video essays, when some students may have had limited experience in video making, is a complex undertaking. Our project harnessed the enthusiasm, skills and perspectives of four Film Studies students, together with academic and professional staff, to redesign the curriculum in a Film Studies unit 'From Silent to Sound Cinema'.</p> <p>During the semester before the unit was offered, a team of staff and students worked together on the redesign. We met several times to plan, design and test new elements of the curriculum, and to develop an evaluation plan. We aimed to answer two research questions:</p> <p>RQ1: What are the perceptions of students enrolled in the unit of the redesigned learning activities and assessments? (product)</p> <p>RQ2: What do student partners and staff gain from working together in a curriculum redesign process? (process)</p> <hd id="AN0138909507-3">Literature review</hd> <p>Students as partners (or student-staff partnership) is a movement in higher education which positions students as co-creators of their learning experiences, rather than as passive consumers (e.g. Carey, [<reflink idref="bib6" id="ref5">6</reflink>]; Freeman, Millard, Brand, & Chapman, [<reflink idref="bib14" id="ref6">14</reflink>]). A student-staff partnership is 'a collaborative, reciprocal process through which all participants have the opportunity to contribute equally, although not necessarily in the same ways, to curricular or pedagogical conceptualisation, decision-making, implementation, investigation or analysis.' (Cook-Sather, Bovill, & Felten, [<reflink idref="bib8" id="ref7">8</reflink>], pp. 6–7). It is a process that has been applied in several countries and across a range of disciplines.</p> <p>Students may be involved as partners in many ways, including 'learning, teaching, and assessment; curriculum development and pedagogic consultancy; subject-based research and inquiry; and scholarship of teaching and learning' (Healey, Flint, & Harrington, [<reflink idref="bib15" id="ref8">15</reflink>], p. 3). Here we focus on students as partners for curriculum design. There is a wide range of ways that students and staff have worked together on curriculum design, including co-deconstructing the hidden curriculum; influencing courses and university-wide curriculum renewal; collaborating on course design as a course is unfolding; co-creating an institution-wide pedagogical partnership program; re-designing a course in the semester prior to teaching it again; and partnering with students in a whole of degree program curriculum review (Cook-Sather, Matthews, & Bell, [<reflink idref="bib10" id="ref9">10</reflink>]).</p> <p>The benefits resulting from such partnerships include more inclusive courses (Brunson, [<reflink idref="bib4" id="ref10">4</reflink>]), improved student experiences (ibid), learning activities and assessments that are more relevant to students' lives (Bunnell & Bernstein, [<reflink idref="bib5" id="ref11">5</reflink>]) and better meet their needs (Shore, [<reflink idref="bib23" id="ref12">23</reflink>]), more culturally responsive classrooms (Cook-Sather & Des-Ogugua, [<reflink idref="bib9" id="ref13">9</reflink>]) and changed thinking by staff and students about the curriculum (Peseta et al., [<reflink idref="bib22" id="ref14">22</reflink>]). Student partners involved in curriculum design report benefits, such as feeling more invested in their education, taking responsibility for their learning, and gaining a sense of agency around curriculum redesign (Charkoudian, Bitners, Bloch, & Nawal, [<reflink idref="bib7" id="ref15">7</reflink>]; Matthews, [<reflink idref="bib20" id="ref16">20</reflink>]).</p> <p>Bovill and Bulley ([<reflink idref="bib2" id="ref17">2</reflink>]) propose eight levels at which students can be involved in curriculum design, from no involvement through to total control. These two levels are obviously at the extreme ends, and our approach focuses on the mid-point of partnership, with students having substantial involvement and the academic unit coordinator having the final say in decision-making, which makes sense given her expertise in the subject matter and in teaching, and her ultimate responsibility for the student experience in the unit.</p> <hd id="AN0138909507-4">Study context</hd> <p>The four student partners were selected via an expression of interest process, and demonstrated creative, thoughtful responses to a prompt about how they would redesign a film studies assessment. They also were required not to be studying 'From Silent to Sound Cinema' that year, to avoid gaining an unfair advantage over other students in the unit. We had several meetings as a project team, some just with staff for planning purposes, and four workshops with the student partners:</p> <p></p> <ulist> <item> Orientation Workshop (two hours)</item> <p></p> <item> Design Workshop (three hours)</item> <p></p> <item> Testing Workshop (three hours)</item> <p></p> <item> Wrap up Workshop (six hours)</item> </ulist> <p>In order to develop a shared understanding of the unit and of curriculum design, we spent some time discussing readings on curriculum design principles (Meyers & Nulty, [<reflink idref="bib21" id="ref18">21</reflink>]; Victoria University, [<reflink idref="bib25" id="ref19">25</reflink>]) and video essays (Keathley & Mittell, [<reflink idref="bib17" id="ref20">17</reflink>]). The unit coordinator showed us some examples of video essays (Keathley & Mittell, [<reflink idref="bib18" id="ref21">18</reflink>]). The student partners prepared for each workshop in various ways, such as spending two hours working on the proposed tutorial exercises before participating in the testing workshop.</p> <p>The unit coordinator proposed assessment tasks and associated learning activities, which were then revised and tested through the workshop process. The final assessments that were rolled out in semester two were: 1) short video exercise, 2) portfolio (four video exercises), 3) video essay plan and 4) video essay. Student partners also contributed to additional outputs, i.e. specific scaffolded learning activities across the course of the unit.</p> <p>The project received funding from a university-level 'Education Innovation' grant as part of a wider university undergraduate curriculum transformation initiative. This funding supported the employment of the student partners, a project assistant (to source and develop new learning and teaching resources), tutoring and marking buy-out for the unit coordinator and an academic peer (who completed an evaluation of the redesigned unit and a sample of completed assessments), and gift vouchers for focus group participants. Two other project team members, the academic developer and educational designer, participated on an in-kind basis, with an agreed number of hours.</p> <hd id="AN0138909507-5">Methodology</hd> <p>We used a modified version of a Context, Input, Process and Product Evaluation Model, focussed on process and product, to investigate the research questions (Zhang et al., [<reflink idref="bib26" id="ref22">26</reflink>]). The primary way we gathered data to answer RQ1 – <emph>What are the perceptions of students enrolled in the unit of the redesigned learning activities and assessments? (product)</emph> – was through focus groups. The student partners conducted two focus groups towards the end of semester two, after meeting with the team to discuss and agree on a set of questions. The 48 students enrolled in the unit were emailed an invitation to participate in a focus group, with a $50AUD voucher provided in compensation for their time. Nine students participated in total (four and five in each group, respectively), and each focus group went for 60 minutes on average. Participants were asked about their experiences of completing the video essay, including what resources they used when preparing their essays, and whether they saw any links between what they learned and other units, or beyond university. They were also asked about any improvements they would suggest.</p> <p>We also gathered supplementary data via the formal end of semester online survey (which had a 25% response rate (i.e. 12 of 48 students)), and we asked an experienced peer to evaluate the changes to the unit. These additional data provide triangulation for the focus group findings.</p> <p>The primary way we gathered data to answer RQ2 – <emph>What do student partners and staff gain from working together in a curriculum redesign process? (process) –</emph> was through reflective writing by student and staff partners. The team individually responded to prompts about what they learned by participating in the project, what they contributed to the project and what changes they would suggest.</p> <p>We analysed the focus group transcripts, student survey data and team members' reflections using the phases of thematic analysis described by Braun and Clarke ([<reflink idref="bib3" id="ref23">3</reflink>]). We first familiarised ourselves with the transcripts, then generated initial codes and themes. After searching for themes, we discussed and reviewed the themes. We then defined and named the themes, and selected compelling examples.</p> <p>We received approval from The University of Sydney's Human Research Ethics Committee (2017/902), and focus group participants selected their own pseudonyms.</p> <hd id="AN0138909507-6">Results and discussion</hd> <p> <emph>RQ1: What are the perceptions of students enrolled in the unit of the redesigned learning activities and assessments? (product)</emph> </p> <p>The five themes we agreed were apparent in the data from students enrolled in the unit were: 1) transitioning into a video-based world, 2) rewarding and engaging, 3) transformed understanding of film studies, 4) factors which supported learning and 5) factors which hindered learning. These themes are described below, with illustrative examples from the focus group transcripts and end of semester survey.</p> <p>1. <emph>Transitioning into a video-based world</emph></p> <p>Some students were initially apprehensive about the assessment in the unit, expressing that they felt 'unprepared', that it was 'new', 'different' and 'hard' and that they were 'floundering' at the beginning. They grappled with learning how to construct an argument in a visual form:</p> <p> <emph>It is learning a new skill: we have all been writing essays for years now. So you are just so used to writing essays. It was an interesting challenge to reconsider what an argument actually is and how you can share that in a different way</emph>. (Jess, focus group)</p> <p>Many focus group participants recognised that the skills they developed by completing the video essay, while challenging, helped prepare them for a 'video-based world':</p> <p> <emph>...video is THE medium of the present and the immediate future and I can't think of any professional career being totally divorced from video</emph>. (David, focus group)</p> <p>Some participants also commented on the greater accessibility of the video format, as potentially breaking down barriers between academia and society:</p> <p> <emph>I think it's really important in academia to consider if you're producing, like, work people outside of the academy can't relate to. .... If nobody, or only a select few in academia can fully understand what you're trying to say, that's not helping anybody. So yeah, I think that video is a much more accessible platform for that sort of stuff</emph>. (Maria, focus group)</p> <p>2. <emph>Rewarding and engaging</emph></p> <p>While students found learning the new skill set challenging initially, they also found it 'academically rewarding', 'super fun', 'personal' and 'awesome':</p> <p>...<emph>when you're actually using the video essay form I found it much more engaging in trying to create an argument...you use much more of the language and tools of the film to make the argument more clear....I'm used to just being able to set aside a weekend and write an essay. But actually being forced to do a video essay, I enjoyed it much more</emph>. (Bruce, focus group)</p> <p> <emph>Having the opportunity to construct and produce a video essay which functions in the same way as a written essay but requires a different approach [was the best aspect of the unit]. The film material is text and must perform for my own argument but at once cannot be untruthful to their original contexts. This is challenging and also inspirational as what we are left with is an immersive piece of work</emph>. (anonymous end of semester survey response)</p> <p>3. <emph>Transformed understanding of film studies</emph></p> <p>Students' understanding of film studies was transformed during the unit. Their ideas evolved via the practical exercises and feedback from tutors and peers. The practical nature of the unit and overarching goal of completing the video essay reinforced to students the materiality of film. By physically arranging clips, inserting audio files and experimenting with transitions, students were able to appreciate the differences between watching and making a film:</p> <p> <emph>A lot of film studies feels like it's about the materiality of the film...People can tell you it's a celluloid, but it doesn't mean anything unless you've got the opportunity to work in that medium. A lot of that stuff goes over my head until you are forced to interact with that stuff</emph>. (Clarence, focus group)</p> <p> <emph>...watching a film is not like making a film. It makes you really aware of that....It is incredibly important to see what it looks like and feel the effect that the particular sequence has because just like writing it down you will never really know how the particular sound/sound track will feel like until you actually watch it</emph>. (Charlie, focus group)</p> <p>4. <emph>Factors which supported learning</emph></p> <p>Students mentioned the example video essays shown and discussed in tutorials as being useful because they could see the variety of options and approaches. Some students also found creating a plan for their video essay helpful:</p> <p> <emph>...the plan came at a convenient time and I found it helpful. To me it was like a rough first draft. I know how to write essays – I write a draft, well many versions of a draft, and I expect it to change. So I approached the video essay in a similar manner. I was completing several drafts and I knew that it was going to change but I knew that I was getting rough ideas down and knew thematically where I wanted to go with this</emph>. (Jess, focus group)</p> <p>Students also found that the tutorial exercises helped them learn how to create their video essays so that they could develop skills in iMovie (a video editing tool). The rubrics were mentioned by students as a support for learning in helping them know whether they were 'on track'. Feedback from the lecturer/tutor also helped students learn how to create a compelling video essay. The preparation of a portfolio (of tutorial exercises) enabled students to reflect on their learning:</p> <p> <emph>...it's nice to have a portfolio of work you can back and kind of look at and see how far you've come in that time</emph>. (Maria, focus group)</p> <p>5. <emph>Factors which hindered learning</emph></p> <p>Technical issues were mentioned by several students, including lack of access to the computer labs, long upload times and software compatibility problems. Some students wanted longer tutorials and more time to work on the plan/more time between when the portfolio was due and when the video essay plan was due. However, they also acknowledged that the plan had to be due at a certain point in order to allow them time to receive and review their feedback prior to submitting their final video essay. One student found the workload stressful:</p> <p> <emph>I think the whole course was very high stress, because I didn't know anything about the medium beforehand. The thing that got me the most was the amount of prep each week, and between having a part time job and maybe an assignment due that week, sometimes I didn't have time to everything. And when you arrived at a tute without having done all the work, you were screwed</emph>. (Erin, focus group)</p> <p>Another student questioned whether the rubrics and instructions might have a detrimental effect on creativity:</p> <p> <emph>At the end of the day if you are being asked to make something creative and conceptual, do you need instructions and do we need to follow a rubric? Like I made my video essay and just looked at the rubric. The instructions were good but it can be restrictive at the same time</emph>. (Tom, focus group)</p> <hd id="AN0138909507-7">Evaluation by experienced film studies academic</hd> <p>An experienced colleague and Director of the Film Studies Program, Bruce Isaacs, evaluated the unit at the end of semester two. The evaluation included reviewing samples of student work, other materials such as the unit outline (syllabus) and assessment rubrics. The evaluation confirms some of the student responses above, and also extends them by moving into areas such as program level outcomes. The evaluator summarised the positive product outcomes as follows:</p> <p> <emph>I congratulate the team for the creation of these assessment task frameworks that are both polished and sophisticated, and clearly a platform for high order and genuinely creative practice and reflection....The assessment framework enables the student to integrate creative and analytical forms of thinking and production. This again was successfully achieved across all assessments in the suite, and it is clear from the video essay plans and critical reflections on the video essays that students were attuned to the genre of the video essay form as both creative and analytical/theoretical reflection. It [the unit] brings practice and theory together in sophisticated ways, and enables students to reflect on this important relationship.</emph> </p> <p>The evaluator's suggestions for improvement focussed around increasing the <emph>'capacity for analytical and/or theoretical reflection'</emph>, by expanding the word limit for the written critical reflection task <emph>'as a discrete analytical/theoretical component of the unit assessment.'</emph> The evaluator also saw opportunities to discuss synergies with program level outcomes across the degree.</p> <p>Overall, the findings related to RQ1 are in line with those related to multimodal composition, both in terms of the benefits – such as students enjoying learning new skills and expressing themselves in new ways (e.g. Utell, [<reflink idref="bib24" id="ref24">24</reflink>]) – and the challenges, which have been likened to 'a bag full of snakes' (DePalma & Alexander, [<reflink idref="bib12" id="ref25">12</reflink>], p. 182).</p> <p> <emph>RQ2 – What do student partners and staff gain from working together in a curriculum redesign process? (process)</emph> </p> <p>We agreed that four themes were apparent in the data from the reflective writing undertaken by each team member: 1) effective collaboration, 2) new insights for student partners, 3) balancing coordinator responsibility with student partner involvement and 4) understanding resource implications. These themes are described below, with illustrative examples from the reflective writing activity.</p> <p>1. <emph>Effective collaboration</emph></p> <p>All project members had positive experiences, using phrases such as 'incredible experience', 'absolute pleasure' and 'one of the highlights of my university life'. Everyone reported that the team, with its multidisciplinary mix of students and staff, collaborated effectively. For example, the unit coordinator found that:</p> <p> <emph>Everyone was an active contributor, bringing diverse perspectives and expertise to the project. I was delighted with the energy, commitment and inventiveness of the student partners</emph>. (Susan, unit coordinator)</p> <p>Some of the student partners reported feeling surprised at the level of collaboration:</p> <p> <emph>My expectations of the project were that we would only be a second opinion or consulting body, as student partners. However, I was surprised and really excited to find out how involved we would be in the team, and how well our discussions went</emph>. (Anniek, student partner)</p> <p>2. <emph>New insights for student partners</emph></p> <p>The student partners gained valuable insight into the curriculum design process and the workload of academics, and appreciated being able to 'see the whole process from design to implementation to evaluation':</p> <p> <emph>The one thing I really admired about the project was seeing it come to life. Having participated in the focus group and listening to students express their enjoyment and admiration for the unit made everything worthwhile. I had such a big smile on my face when a student in the focus group said it was the best unit they had ever done</emph>. (Mirjana, student partner)</p> <p> <emph>Perhaps ... the most eye-opening aspect of participating in the project was the realisation that every unit is meticulously planned and thought-out with the students in mind. Needless to say, I've since found a renewed appreciation for my study units and unit coordinators</emph>. (Zaki, student partner)</p> <p> <emph>Learning about the academic structural side and how courses are created, designed and constructed was an enlightening experience</emph>. (Lisa-Anne, student partner)</p> <p>3. <emph>Balancing coordinator responsibility with student partner involvement</emph></p> <p>The unit coordinator had some valuable insights as to when such a redesign process might be beneficial, and how to negotiate the 'handover' point from the project team to the coordinator:</p> <p> <emph>Not every single unit needs this kind of process. This was the perfect unit, as it was part of change in the Film Studies major. If a similar project were to be run in future, I'd scale down, slightly, the work undertaken in the developmental phase (semester 1). We had one workshop too many. There's a certain point where the project – in this case the assessments – has to be handed over to the unit coordinator to continue development and fine-tuning in response to teaching requirements. However, it is vital to include student partners in the evaluation, in this case to undertake one of the evaluation activities, but also, given their contributions, to be involved in the final reflections on the project's outcomes</emph>. (Susan, unit coordinator)</p> <p> <emph>4. Understanding resource implications</emph> </p> <p>The unit coordinator reflected on the resourcing of the project (as detailed in the study context section):</p> <p> <emph>The extent of the funding and in-kind support is likely at the higher end of the scale in the tertiary sector, however each of the activities – assessment redesign, testing, evaluation – are potentially flexible in terms of the number of project team participants, allocated project time, and specific project activities. For example, one of the workshops in this project (Testing) could have been scaled back significantly while still performing the same project function. It may also be possible to factor in alternative means of support, for example, via academic workload calculations</emph>. (Susan, unit coordinator)</p> <p>Overall, the positive outcomes for student and staff team members reflect those found in the literature (e.g. Matthews, [<reflink idref="bib20" id="ref26">20</reflink>]; Peseta et al., [<reflink idref="bib22" id="ref27">22</reflink>]). The reflections on resource implications are important considerations for the uptake and sustainability of similar initiatives. One way to reduce the resourcing demands is to share educational resources. There is an active online community of scholars and teachers in Film Studies and cognate disciplines (such as English and Media Studies) both in Australia and internationally who have been developing and sharing teaching and learning resources, many of which are now being taken up institutionally and included in library subject guides and the like (e.g. [in]Transition, [<reflink idref="bib1" id="ref28">1</reflink>]; Edith Cowan University, [<reflink idref="bib13" id="ref29">13</reflink>]).</p> <hd id="AN0138909507-8">Summary</hd> <p>The findings we have presented show that the project was successful, both for the students enrolled in the unit and for the student-staff partnership team. The students enrolled in the unit found that, while initially challenging, the video essay and associated assessments and learning activities were enjoyable, and transformed their understanding of film studies. They also gained video making and editing skills that they saw would be useful professionally. Feedback from the end of semester survey and an experienced film studies academic confirmed these findings. Areas for further refinement include lengthening the tutorials to allow more time to work on the assessments and activities, minor adjustments to assessment requirements and deadlines (in particular the video essay plan), and attending to technical issues. The unit coordinator plans to develop a digital repository of student-created resources to be used for subsequent teaching and independent student learning in compulsory core units of the Film Studies major.</p> <p>The student-staff partnership approach to curriculum redesign was effective, and team members reported several benefits, including learning from diverse perspectives and experiences. The student partners gained greater knowledge of film studies, research skills and processes of curriculum design. Although student-staff partnerships are time and resource intensive, we recommend this model, or a scaled-down version of it, to academics considering major curriculum redesign.</p> <hd id="AN0138909507-9">Acknowledgments</hd> <p>We thank Elena Sarno for her work as a project assistant during the first half of the project and Sue Atkinson for her contribution as a team member and educational designer. We also thank Bruce Isaacs for his enthusiastic support for this project and for contributing a robust evaluation of the pilot at the end of the unit teaching semester. We are grateful to the funding made available via an Educational Innovation grant from The University of Sydney's Deputy Vice Chancellor Education Portfolio.</p> <hd id="AN0138909507-10">Disclosure statement</hd> <p>No potential conflict of interest was reported by the authors.</p> <ref id="AN0138909507-11"> <title> References </title> <blist> <bibl id="bib1" idref="ref28" type="bt">1</bibl> <bibtext> [in]Transition (2018). Resources. Retrieved from <ulink href="http://mediacommons.org/intransition/resources">http://mediacommons.org/intransition/resources</ulink></bibtext> </blist> <blist> <bibl id="bib2" idref="ref17" type="bt">2</bibl> <bibtext> Bovill, C., & Bulley, C. J. (2011). A model of active student participation in curriculum design: Exploring desirability and possibility. In C. Rust (Ed.), Improving Student Learning (ISL) 18: Global theories and local practices: Institutional, disciplinary and cultural variations. Series: Improving student learning (18) (pp. 176 – 188). 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She is studying a Bachelor of Arts (Media and Communications), majoring in English and Marketing.</p> <p>Anniek Grundy is currently interning with the Sydney Film Festival, working with the development and marketing teams. She is studying a Bachelor of Arts (Media and Communications), majoring in Film Studies and Marketing.</p> <p>Mohammad Zaki Yawary is currently studying a Bachelor of Arts, majoring in English and Film Studies at The University of Sydney.</p> </aug> <nolink nlid="nl1" bibid="bib11" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib13" firstref="ref2"></nolink> <nolink nlid="nl3" bibid="bib19" firstref="ref3"></nolink> <nolink nlid="nl4" bibid="bib16" firstref="ref4"></nolink> <nolink nlid="nl5" bibid="bib14" firstref="ref6"></nolink> <nolink nlid="nl6" bibid="bib15" firstref="ref8"></nolink> <nolink nlid="nl7" bibid="bib10" firstref="ref9"></nolink> <nolink nlid="nl8" bibid="bib23" firstref="ref12"></nolink> <nolink nlid="nl9" bibid="bib22" firstref="ref14"></nolink> <nolink nlid="nl10" bibid="bib20" firstref="ref16"></nolink> <nolink nlid="nl11" bibid="bib21" firstref="ref18"></nolink> <nolink nlid="nl12" bibid="bib25" firstref="ref19"></nolink> <nolink nlid="nl13" bibid="bib17" firstref="ref20"></nolink> <nolink nlid="nl14" bibid="bib18" firstref="ref21"></nolink> <nolink nlid="nl15" bibid="bib26" firstref="ref22"></nolink> <nolink nlid="nl16" bibid="bib24" firstref="ref24"></nolink> <nolink nlid="nl17" bibid="bib12" firstref="ref25"></nolink>
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  Data: Evaluating the Process and Product of a Student-Staff Partnership for Curriculum Redesign in Film Studies
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  Data: <searchLink fieldCode="AR" term="%22Bell%2C+Amani%22">Bell, Amani</searchLink> (ORCID <externalLink term="http://orcid.org/0000-0001-6030-651X">0000-0001-6030-651X</externalLink>)<br /><searchLink fieldCode="AR" term="%22Potter%2C+Susan%22">Potter, Susan</searchLink><br /><searchLink fieldCode="AR" term="%22Morris%2C+Lisa-Anne%22">Morris, Lisa-Anne</searchLink><br /><searchLink fieldCode="AR" term="%22Strbac%2C+Mirjana%22">Strbac, Mirjana</searchLink><br /><searchLink fieldCode="AR" term="%22Grundy%2C+Anniek%22">Grundy, Anniek</searchLink><br /><searchLink fieldCode="AR" term="%22Yawary%2C+Mohammad+Zaki%22">Yawary, Mohammad Zaki</searchLink>
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  Data: <searchLink fieldCode="SO" term="%22Innovations+in+Education+and+Teaching+International%22"><i>Innovations in Education and Teaching International</i></searchLink>. 2019 56(6):740-750.
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  Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
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  Data: 11
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  Data: 2019
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  Data: Journal Articles<br />Reports - Research
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  Data: <searchLink fieldCode="DE" term="%22Films%22">Films</searchLink><br /><searchLink fieldCode="DE" term="%22Teacher+Student+Relationship%22">Teacher Student Relationship</searchLink><br /><searchLink fieldCode="DE" term="%22Curriculum+Development%22">Curriculum Development</searchLink><br /><searchLink fieldCode="DE" term="%22Video+Technology%22">Video Technology</searchLink><br /><searchLink fieldCode="DE" term="%22Learning+Activities%22">Learning Activities</searchLink><br /><searchLink fieldCode="DE" term="%22Student+Attitudes%22">Student Attitudes</searchLink><br /><searchLink fieldCode="DE" term="%22Teaching+Methods%22">Teaching Methods</searchLink><br /><searchLink fieldCode="DE" term="%22Instructional+Design%22">Instructional Design</searchLink><br /><searchLink fieldCode="DE" term="%22Critical+Thinking%22">Critical Thinking</searchLink><br /><searchLink fieldCode="DE" term="%22Units+of+Study%22">Units of Study</searchLink><br /><searchLink fieldCode="DE" term="%22Outcomes+of+Education%22">Outcomes of Education</searchLink><br /><searchLink fieldCode="DE" term="%22Assignments%22">Assignments</searchLink><br /><searchLink fieldCode="DE" term="%22Workshops%22">Workshops</searchLink><br /><searchLink fieldCode="DE" term="%22Student+Evaluation%22">Student Evaluation</searchLink>
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  Data: 10.1080/14703297.2019.1588768
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  Data: 1470-3297
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  Data: This paper describes a student-staff partnership to design learning activities and assessments for an undergraduate Film Studies course. Four students and three staff designed the new assessments and learning activities to develop students' knowledge and skills to produce a video essay. The new assessments were co-developed in semester one so that students in semester two could experiment, innovate and think critically using the logics and form of film itself. We evaluated both the product (the new assessments and activities) and the process (the partnership). The evaluation of the project was positive, with students enrolled in the unit engaged in the technical and intellectual challenges of this new form of assessment. Student partners brought complementary knowledges and perspectives to the project, while extending their skills and awareness of behind-the-scenes curriculum development processes at the university. The paper provides insights into the benefits and challenges of student-staff partnerships for curriculum redesign.
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        PageCount: 11
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