Topic: The Hollywood Studio System
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Hollywood_handbook_2018_.pdf
UEA MODULE OUTLINE Section 1
General Information
Module Title: The Hollywood Studio System
Module code: AMAM5042B Credit value: 20 Level (3, 4, 5, 6 or 7):
5
Total student effort hours: 200
Academic Year: 2016/17 Semester: 2
Related modules (Co-requisites, pre-requisites etc.): N/A
Section 2
Module Description and Learning Outcomes
Description What is this module about?
This module will develop students understating of how silent-era, classical and post-classical Hollywood has developed as an industry, balancing the twin demands of creativity and commerce. The module will encourage students to analyse how Hollywood works as an industry, the kind of films it produces, and the ways in which they are consumed by domestic and global audiences. Students will engage with a variety of Hollywood films and be introduced to a range of theories and approaches for analysing how they are produced and consumed.
Learning Objectives What will you learn? (subject
specific and transferable skills)
The learning objectives of this module are to:
Provide a comprehensive overview of Hollywood cinema past and present, and consider the potential future of the industry based on this historical assessment
Develop your critical understanding and awareness of the different production strategies used by Hollywood studios over the decades
Analyse the consumption of Hollywood cinema by examining different modes of historical reception in both domestic and international contexts
Examine how Hollywood operates as an industry and consider how this has changed and evolved over time
Develop your skills as a film researcher through analysing the commercial, creative, technological and socio-cultural development of Hollywood cinema and present this material through a variety of written, spoken and visual methods
Learning outcomes? What will you be able to do by the end of the module?
By the end of the module students should be able to demonstrate the following: Knowledge and Understanding
Developed awareness and understanding of the production strategies used by Hollywood across different historical periods
Familiarised with the impact of industrial, technological, creative and socio-cultural changes on the structures underpinning the Hollywood system
Understand how Hollywood films are consumed by domestic and global audiences, and how this process continues to impact on studio productions
Analytical and Critical Skills
Critically analyse and evaluate films from across Hollywood history and engage with a wide selection of related concepts, issues and debates
Developed ability to select and collate a range of research materials relevant to the study of Hollywood cinema, using differing methods and approaches
Construct critical and original arguments that are informed by, and build on, the course screenings, materials and independent / group research
Professional Development
Developed project management skills including the ability to conduct research, apply appropriate methods, and present and critically evaluate evidence
Contribute to seminars through proactive discussion, showcasing independent research and working effectively with peers in group exercises
Present formative assignments and assessed summative work in a clear and accurate manner, conforming to appropriate written conventions
Improve and develop formative work based on feedback provided Manage independent study to meet regular deadlines Use a range of IT and digital technology to present research findings
Links
Where does this fit in to your programme?
Optional for a number of AMA degrees at Level 5
Section 3
Module Teaching Team
Module Organiser (Including brief biographical
description)
Tim Snelson, Lecturer in Media History
Co-tutors on the Module Linda McCarthy, Associate Tutor
Natalie Haygarth, Associate Tutor
Burcu Dabak, Associate Tutor
Section 4
Learning Activities and Indicative Student Effort Hours
Learning Activity Total effort hours
(module) - 200
Indicative Effort hours per
week
a) Class sessions (Lectures, workshops, lab sessions, seminars etc.)
20 2
b) Pre-class preparation and follow-up study 80 8
c) Work-based or Placement Hours
d) Formative assessments/activities 40 4
e) Feedback/Feed-forwards sessions
f) Summative assessments (essays, dissertations, oral presentations, worksheets, lab reports etc)
40 4
g) Background reading 20 2
h) Exams/OSCEs
i) Course Tests
j) Tutorials (individual or small groups)
Total effort hours (a + b + c + d + e + f + g + h + i + j) = 200 200 20
Section 5
Teaching Sessions
Seminar Programme (where applicable)– details for each session
Group 1: Friday 9.00-11.00 Arts 2.06 Natalie Haygarth Group 2: Friday 11.00-13.00 Arts 1.05 Linda McCarthy Group 3: Friday 13.00-15.00 BDS 0.17 Burcu Dabak
Weekly Breakdown Week 1. Hollywood: The Art of Commercial Cinema. Week 2. Silent-cinema – Emergence of Studios. Week 3. Classical Hollywood Filmmaking. Week 4. Stars, Genres and Hollywood’s Audiences. Week 5. Regulating Hollywood. Week 6. New Hollywood, New Aesthetics. Week 7. Do Something Different Week (no teaching, see programme of events) Week 8. The Hollywood Blockbuster. Week 9. Hollywood v. ‘Indiewood’. Week 10. Hollywood’s Franchises. Week 11. Global Hollywood. Week 12. Workshop week
Screenings
All groups: Wednesday 17.00-20.00 Congregation Hall 0.17 Weekly Breakdown Week 1. Gravity (Alfonso Cuarón, 2013, USA / UK) Week 2. The Circus (Charlie Chaplin, 1928, USA) and serial episode Week 3. Miracle on Morgan’s Creek (Preston Sturges, 1944, USA) and selection of shorts Week 4. Some Like it Hot (Billy Wilder, 1959, USA) Week 5. Rosemary’s Baby (Roman Polanski, 1968, USA) Week 6. Grease (Alan Carr, 1978, USA) Week 7. Do Something Different Week (no screening, see programme of events) Week 8. Shrek 2 (Andrew Adamson, 2004, USA) Week 9. Far From Heaven (Todd Haynes, 2002, USA) Week 10. Batman (Tim Burton, 1989, USA) Week 11. Crouching Tiger, Hidden Dragon (Ang Lee, 2000, China / USA)
Section 6
Learning Support Materials
Required (Key) Reading
All in Reading List section of Blackboard
Week 1: Required Reading: Maltby, Richard (2003) Hollywood Cinema (2nd ed.) Oxford: Blackwell. ‘Taking Hollywood Seriously’, pp. 5-32 Week 2: Required Reading: Gomery, Douglas (1996) ‘The Rise of Hollywood: The Hollywood Studio System’, Geoffrey Nowell-Smith (ed.) The Oxford History of World Cinema. Oxford: Oxford University Press, pp.43-53
Gomery, Douglas (1985) ‘The Coming of Sound: Technological Change in the American Film Industry’, Tino Balio (ed.) The American Film Industry, Madison: University of Wisconsin Press, pp.229-251 Further Background Reading: Schatz, Thomas. The Genius of the System: Hollywood Film-making in the Studio Era. London: Faber, ‘Warner Bros.: Talking their Way to the Top’, pp.58-66 Staiger, Janet (1980) 'Mass-Produced Photoplays: Economic and Signifying Practices in the First Years of Hollywood', Bill Nichols (ed.) (1985) Movies & Methods Volume II. Berkeley: University of California Press, pp.144-161 Week 3: Required Reading: Bordwell, David (1985) Narration in the Fiction Film. Madison: University of Wisconsin Press, ‘Classical Narration: The Hollywood Example’, pp.156-166 (extract) Street, Sarah (1996). History Today. ‘Film in Context: Citizen Kane’, Vol. 46, Issue 3, March 1996, pp.48-52 (PDF accessible from library catalogue) Further Background Reading: Kuhn, Annette and Thomas Schatz (2007) 'The Classic Studio System' and 'Classic Hollywood Narrative' Pam Cook (ed.) The Cinema Book (3rd ed.) London: BFI, pp.19-44; 45-48 Maltby, Richard (2003) Hollywood Cinema (2nd ed.) Oxford: Blackwell, ‘Narrative 1’, pp.452-470 Week 4: Required Reading: Allen, Robert C and Douglas Gomery (1985) Film History: Theory and Practice. London & New York: McGraw Hill, pp.172-189 Ohmer, Susan (2006) George Gallup in Hollywood. New York: Columbia University Press. Ch.1 ‘What Do Audiences Want?’, pp.1-12 Further Background Reading Cook, Pam (ed.) (2007) The Cinema Book (3rd ed.) London: BFI, 'Part 2: The Star System', pp.110-125 Dyer, Richard (2003) Heavenly Bodies: Film Stars and Society (2nd ed.) London: Routledge, ‘Monroe and Sexuality’, pp.17-63 E-Book: http://lib.myilibrary.com/Open.aspx?id=419648&src=0. If accessing from off-campus, you will need to ‘select your institution’ (you may need to click ‘Shibboleth’ or ‘Athens’ to do this) and choose ‘University of East Anglia’ to log-in McDonald, Paul (2013) Hollywood Stardom. Malden: Wiley-Blackwell, ‘The Symbolic Commerce of Hollywood Stardom’, pp.11-40 Week 5: Required Reading: Maltby, Richard (1996) ‘Censorship and Self-Regulation’, Geoffrey Nowell- Smith (ed.) The Oxford History of World Cinema. Oxford: Oxford University Press, pp.235-248 Week 6: Required Reading: Bordwell, David (2006) The Way Hollywood Tells It: Story and Style in Modern Movies. Berkley: University of California Press, ‘Intensified Continuity: Four Dimensions’, pp.121-138
Wyatt, Justin (1994) High Concept: Movies and Marketing in Hollywood. Austin: University of Texas Press, pp.1-23 Further Background Reading: Gomery, Douglas (1996) 'The New Hollywood', Geoffrey Nowell-Smith (ed.) The Oxford History of World Cinema. Oxford: Oxford University Press, pp.475- 482 Schatz, Thomas (1993) ‘The New Hollywood’, Jim Collins, Hilary Radner and Ava Preacher Collins (eds.) Film Theory Goes to the Movies, New York: Routledge, pp.8-36 Week 8: Required Reading: Gomery, Douglas (2003) ‘The Hollywood Blockbuster: Industrial Analysis and Practice’, Stringer, Julian (ed.) Movie Blockbusters. London: Routledge, ‘Introduction’, pp.72-83 Jones, Kent (1996) ‘The Summer of Our Malcontent’, Film Comment, Vol.32, No.5, Sept-Oct 1996, pp.3-4; 7-8 King, Geoff (2000) Spectacular Narratives: Hollywood in the Age of the Blockbuster. London: I.B Tauris, ‘Frontier Narrative and Spectacle in Twister and Independence Day’, pp.17-40 Further Background Reading: Bordwell, David (2006) The Way Hollywood Tells It: Story and Style in Modern Movies. Berkley: University of California Press, ‘A Certain Amount of Plot: Tentpoles, Locomotives, Blockbusters, Megapictures and the Action Movie’, pp.104-114 King, Geoff (2002) New Hollywood Cinema. London: I.B Tauris, ‘Narrative vs. Spectacle in the Contemporary Blockbuster’, pp.178-223 Week 9: Required Reading: Schatz, Tom (2008), ‘The Studio System and Conglomerate Hollywood’, Paul McDonald and Janet Wasko (eds.) The Contemporary Hollywood Film Industry. Malden: Blackwell Publishing Ltd., ‘The Indie Film Movement’; ‘Reconciling the Two Hollywoods’; ‘New Millennium – New Equilibrium’, pp.29-42 Wyatt, Justin (1998) 'The Formation of the "Major Independents": Miramax, New Line and the New Hollywood', Steve Neale and Murray Smith (eds.) Contemporary Hollywood Cinema. London: Routledge, pp.74-90 Further Background Reading King, Geoff (2007) 'The Major Independents', Pam Cook (ed.) The Cinema Book (3rd ed.) London: BFI, pp.54-59 Maltby, Richard (2003) Hollywood Cinema (2nd ed.) Oxford: Blackwell, ‘Industry 3: Since 1980’, pp.189-226 Week 10: Required Reading: Johnson, Derek (2013) Media Franchising: Creative License and Collaboration in the Culture Industries, New York: New York University Press, ‘Imagining the Franchise: Structures, Social Relations and Cultural Work’, pp.27-46 Meehan, Eileen R (1991) ‘Holy Commodity Fetish, Batman!’, Roberta E. Pearson and William Uricchio (eds.), The Many Lives of Batman: Critical Approaches to a Superhero and his Media, New York: BFI-Routledge, pp.47-65 Further Background Reading
Drake, Philip (2008) ‘Distribution and Marketing in Contemporary Hollywood’, Paul McDonald and Janet Wasko (eds.) The Contemporary Hollywood Film Industry. Malden: Blackwell Publishing Ltd., pp.63-82 Week 11: Required Reading: Miller, Toby (et al.) (2005) Global Hollywood 2. London: British Film Institute, ‘The New International Division of Cultural Labour’, pp.111-123; 149-151 Trumpboar, John (2008) ‘Hollywood and the World: Export or Die’, Paul McDonald and Janet Wasko (eds.) The Contemporary Hollywood Film Industry, pp.209-219 Further Background Reading: Balio, Tina (1998) ‘A Major Presence in all of the World’s Important Markets: The Globalisation of Hollywood in the 1990s’, Steve Neale and Murray Smith (eds.) Contemporary Hollywood Cinema, London: Routledge, pp.58-73 Lent, John A. (2008) ‘East Asia: For Better or Worse’, Paul McDonald and Janet Wasko (eds.) The Contemporary Hollywood Film Industry. Malden: Blackwell Publishing Ltd., pp.275-284
Recommended further screenings
Some useful films to watch get a flavour of how Hollywood tells stories about itself;
Week 2: “Artist” Michel Hazanavicius- 2011
“Singin`in the Rain” Stanley Donen, Gene Kelly- 1952
“Sunset Boulevard” Billy Wider- 1950
Week 3: “RKO 281” Benjamin Ross- 1999
“The film depicts the troubled production behind the 1941 film Citizen Kane. The film's title is a reference to the original production number of Citizen Kane.”
Week 4: “ A Star is Born” George Cukor – 1954
Week 5: “Trumbo” Joy Roach- 2015
“In 1947, Dalton Trumbo (Academy Award Nominee Bryan Cranston) was Hollywood’s top screenwriter until he and other artists were jailed and blacklisted for their political beliefs. TRUMBO (directed by Jay Roach) recounts how Dalton used words and wit to win two Academy Awards and expose the absurdity and injustice of the blacklist…..”
Week 6: “ Easy Riders, Raging Bull: How the sex, drug and Rock` n Roll generation saved the Hollywood” Kenneth Bowser – 2003
“A look at 1970s Hollywood when it was known as New Hollywood, and the director was the star of the movie.”
Week 9: “ Ed Wood” Tim Burton- 1994
Other relevant study
materials (e.g. CD/video/DVD resources, e-
Books/Blackboard etc.)
Range of primary sources (including compulsory film screenings)
Section 7
Formative Assessment
Formative assessment is assessment for learning as opposed to summative assessment which is assessment of learning. Its key purpose is to enable you to practice and demonstrate the academic skills and knowledge that you will be required to apply in your subsequent summative work, and to receive early feedback from your tutor(s).
Assessment Type Assignment Deadline
Method of submission (in class, drop box, electronic etc.)
Return Date of marked work (where appropriate)
Method of return
Format and Purpose of feed- back feed-forwards
Formative Wednesday 7th March by 3pm (week 8)
Evision Week 10 Via HUB Feedforward for summative
Assignment detail (e.g. title and type, word limit, presentation length)
Research Essay Plan (500 words) You should complete the Research Essay Plan provided on Blackboard by Week 8. This plan will provide a structured overview of your project aims and objectives. To be submitted by Week 8 - Wednesday 7th March 2017, before 3pm, via E-Vision Individual feedback will be provided on your project plan during Week 10.
Please copy and paste the above box for additional elements of formative assessment
Section 8
Summative Assessment
Research essay (100%) 2500 words (see below) To be submitted by Week 13 – Wednesday 17th May 2017, before 3pm, via Evision
Assessment Type
% Weighting
Assignment Deadline
Method of submission
Return Date of marked work
Format of feed-back
Word limit
Method of return
CW - Coursework
100 3pm Wednesday
Evision By 12th June
Written feedback sheet
2500 Hub
17th May (Week 13)
Assignment title and further details (e.g. presentation length):
Research Essay (2500 words) You will select an aspect of Hollywood’s Studio System studied this semester by Week 8. This topic will form the basis of your research project. You can choose from the following topics (and you should select specific examples to compare):
A specific technological aspect of Hollywood filmmaking (e.g. sound recording/design; cinematography; editing; colour technologies; wide-screen)
Directors and Studios (examining the relationship between the two) Stars and Studios (examining the relationship between the two) Hit films and Blockbusters (comparing the Studio era with the post-Studio era) A specific type of epiphenomena (e.g. posters, trailers, merchandise)
You should then choose two periods:
Silent era Studio era Post-Studio era
You will compare and contrast the way your chosen topic works in these two periods. The use of pertinent case studies and specific examples is required. Please note: If you wish to study an aspect of the Hollywood Studio System not indicated in the topic list above, then you should negotiate your topic with your module tutor. All research essays MUST receive approval from your module tutor. The research essay should be presented using normal academic practices (referencing, argument and analysis) but should be structured as follows: 1. Introduction – Explain the question/s you are asking about your chosen topic in your two chosen periods, and what you intend to argue in relation to your research findings. 2. Method(s) – You should outline how you intend to answer your question/s, being clear about how your research project builds on similar, previous research. 3. Research Findings – In this section you should present your analysis of your case studies, answering the question/s outlined in your introduction. You will also need to present your research findings in a visual format (to be confirmed before Week 6). 4. Conclusion – From your analysis, what conclusions can be drawn about this aspect of Hollywood’s Studio System? How do your two chosen historical periods compare and relate to the Hollywood Studio System more broadly? 5. Appendix* – You should provide at least one Appendix (inc. primary data sets, e.g. images, graphs, charts, box office data or other statistics, reception materials). *Not included in word-count but compulsory part of assessment
Section 9
Mapping Assessment to Module Learning Outcomes
Using the boxes below, indicate which outcomes may be demonstrated in the relevant summative assessments.
Learning Outcomes
Summative Ass 1
Summative Ass 2
Summative Ass 3
Summative Ass 4
Knowledge and understanding X
Analytical and Critical Skills
X
Professional Development X
Section 10 Attribute development
On this module you will develop knowledge, insights and attributes that are readily transferable into future or current work settings. The attributes are articulated below so you can understand how the module will help you thrive on your course and prepare you for the world of work. These attributes are also articulated within the UEA Award. Please indicate by checking (X) those sub-attributes that will be demonstrated via engagement with this module.
Academic excellence Critical thinking & problem solving
Learning & personal development
Digital literacy and IT
In-depth and extensive knowledge, understanding and skills in chosen discipline(s)
☒
A capacity for independent, conceptual and creative thinking
☒
A commitment to developing professional values, self-insight and capabilities
☒
Confidently employ a range of digital technologies for academic and professional/ career development purposes
☒
The ability to collect, collate, analyse and critically engage with a wide range of information sources, and evidence
☒ A capacity for informed argument
and logical reasoning
☒
The ability to respond positively to constructive criticism and feedback from peers, tutors and colleagues
☐
Use appropriate digital technologies and resources to locate diverse types of information for both academic and non- academic purposes
☒
The ability to analyse and critically engage with a wide range of concepts and ideas
☒
A capacity for problem identification and problem-solving
☐
Self-confidence and an ability to exercise own ‘voice’
☐
The ability to critically evaluate and engage with the information obtained
☒
Self-management & professionalism
Team working and leadership
Communication Applied numeracy and technical proficiency
A capacity for taking responsibilities and ownership of actions
☒
An ability to co- operate and collaborate with others, including working to shared aims
☐
An ability to communicate in written form for different purposes, audiences and contexts
☐
An ability to perform routine calculations in daily tasks and in applied contexts
☒
An ability to manage time effectively, including setting priorities, juggling competing demands and meeting deadlines
☒
An ability to take other viewpoints, have empathy for other people’s position and give constructive feedback
☒
An ability to communicate in person for different purposes, audiences and contexts
☒ An ability to analyse and interpret data and
evidence
☒
An understanding of work cultures and practices, including work place professionalism
☐
An ability to motivate and lead others, including taking the initiative and delegating when required
☐ An ability to network effectively with others
for specific purposes
☐
Proficiency in skilled techniques used for academic and professional purposes
☐
Career management Commercial awareness Innovation and
enterprise Citizenship and
stewardship
A capacity to reflect on and articulate qualities, strengths and attributes
☐
A knowledge of the link between academic subjects and their commercial applications
☒
The confidence to introduce and establish something new
☐
An understanding of your place within local and global communities
☐
The ability to research specific job and career areas
☐
An understanding of business priorities and the needs of graduate employers
☐
The potential to take an idea through to its practical application
☒
An awareness of the need to manage shared and finite resources, including an appreciation of moral and ethical dimensions
☐
An ability to present your experience and attributes positively to graduate employers
☐
The ability to understand and prioritise customer needs
☐ The potential to apply an enterprising mind-
set to situations
☐
An ability to improve the lives of others and lobby for positive change through community and/or political engagement
☐
Section 12
Useful Links
The following hot links provide quick and easy access to key sources of information and sources of support within the University and important policies that you need to be aware of.
General Regulations
Attendance and Engagement & Progression (General Regulation 13)
Coursework Submission Process
Plagiarism and Collusion Policy
Extenuating Circumstances Policy
Senate Marking Scales (UG and PGT)
Support for Students with Specific Learning Difficulties (SpLDs)
Learning Enhancement Team (DOS)
Link to Past Examination Papers
Other useful links and sources of information, guidance and policies can be found in the LTS Document Library. Click this Link
V1 December 2014
Section 11
Module Enhancements
Changes made to this module in the light of student feedback and Module Review
More diverse screenings and opportunities for more discussion
Guidance for Academic Staff when Completing this Module Outline Template
Please use language which is free of unnecessary jargon and acronyms. Delete or mark as not applicable any sections which do not apply to a particular module – but please check before doing so that this is, in fact, the case. It might be appropriate to customise information in the outline if the modules are delivered online. Module Organisers may add any further information they believe to be useful to students to the outline. Section 1 – General Information Basic but crucial information is provided here. Staff should note that in accordance with the QAA’s Framework for Higher Education Qualifications (FHEQ), the old levels 1, 2, 3 (UG) and Masters levels have been replaced by Levels 4, 5, 6 (UG) and Level 7 (Masters). See 4. below for Student Effort Hours. Section 2 – Description and Learning Outcomes The description needs to reflect the salient features of the module whilst ideally being less than 100 words. The description should be written in an accessible style and should emphasise any innovative elements in the teaching approach (e.g. the use of technology-enhanced learning). Section 3 – Module Organiser and Teaching Team A brief biographical description of the Module Organiser and/or the other module lecturers is often valued by students. These should be brief (i.e. less than 100 words) and accessible and could include a link to the person’s web-page. Section 4 – Learning Activity & Student Effort Hours Student Effort Hours: In accordance with FHEQ/QAA guidance, student effort hours will be based on the following number of total effort hours per credit: 1 credit = 10 student effort hours. This results in the following effort hours totals:
Module Credit Value Total Student Effort Hours (QAA) 20 200 30 300 40 400 60 600 80 800
Please ensure that you indicate how student effort hours are distributed across the module. This information ensures that students are better prepared for their studies and better-equipped to allocate time to specific aspects of the learning experience. Delete or mark as not applicable any sections which do not apply to a particular module. Note: Given the diversity of pedagogical approaches and learning activities within modules across the 4 faculties, it is not expected that a figure for ‘effort hours’ is allocated for all categories (a – j) in the table above – a figure is only required where relevant or appropriate for the module concerned. Section 5 – Teaching Sessions Module Organisers should use this section to indicate the sequence of scheduled (timetabled) sessions, including lectures, seminars, lab sessions, tutorials, placements etc. Section 6 – Learning Support Materials A wide range of materials can be flagged in this section, including books, journals, websites, e- Journals, e-Books, magazines, newspapers, DVDs, CDs, Videos, etc. This information, along with any accompanying reading list, should also be forwarded to the Library in advance to ensure resources are in place and key readings made available via Blackboard if appropriate.
Section 7 – Formative Assessment Formative assessment should be included in modules. It provides students with an excellent opportunity to test their understanding of material, receive feedback on their work and achieve a better understanding of what is required at a given level of study. Formative assessment does not count towards the final module mark. It is designed to help inform a student, developing subject matter and skills, all of which are measured within summative assessment (which counts towards the module mark). The information may also be used to inform the Module Convenor as to the student’s level of engagement for other purposes. There is no requirement for formative assessment to be marked anonymously. Module Organisers are encouraged to ensure a ratio of at least 1:1 between formative and summative assignments. Formative work should underpin summative assessment and can take many forms, such as a specific assessment that is submitted or exercises in laboratory or seminar classes where students are given feedback directly. Formative assignments should be returned in a timely manner such that students are able to draw on the feedback they receive prior to completing and submitting their related summative assessments. Section 8 – Summative Assessment Summative assessment counts towards the final module mark. Summative assignments (with the notable exception of projects and dissertations) should be returned as quickly as possible, and no later than 20 working days. Assignment deadlines can only be set on Monday to Thursday and only on days when the University is open for business. The word limit indicated will be displayed to students on eVision and on the coursework coversheet. Where an assessment is by examination, please indicate if this will take place in the main series or some other time. Where assessment is by Course Test, please indicate the date and time of the test and whether the test will take place in- class or will be formally invigilated, in which case the request will be made to the Assessments and Quality Office by LTS team members. The total assessment weightings of all summative pieces for the module must add up to 100%. All items which have a percentage attached must be listed individually. Section 9 – Mapping Assessments to Module Learning Outcomes This section makes it clear to students how the assessments on the module will enable them to demonstrate the achievement of the module’s Learning Outcomes. Section 10 – Attribute Development Students need to understand how modules will develop attributes beneficial to their academic progression and desirable to graduate employers. Module Organisers can use this section to indicate specific attributes that students will have the opportunity to gain. This might include both disciplinary-specific knowledge and skills, and attributes of a more generic, transferable nature (e.g. effective communication, team-working). Individual modules are not expected to include all attributes. Section 11 – Module Enhancements It is important that students know how they will be able to give feedback on their modules, both during the module and after they have completed it. But it is also critically important that students know how Module Organisers have acted upon the feedback received. Module Organisers should ensure that they convey actions taken in the light of feedback to the students who provided it. This should be done quickly after the data in online module evaluations is received by MOs. It is also important that the next cohort of students on a module know that their feedback will be taken seriously. This is best demonstrated by ensuring that quality enhancement actions taken to address the concerns of the previous cohort are communicated in the Module Outline. Research in the sector demonstrates clearly that students are much more likely to provide feedback if they can see for themselves how previous student feedback has been embraced and acted upon. It is expected, within Chapter B5 of the UK Quality Code, that the feedback loop is closed, hence the inclusion of
Section 11 in this template. In this section Module Organisers may also articulate how, for example, students can use the student representation system (their student reps) to feedback issues via School SSLCs, and they can also explain that an online module evaluation will be available, with the opening and closing date clearly conveyed. Section 12 – Useful Links Staff may add other hot links to this section that they feel are particularly useful for students.
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a na
ly sis
; g ro
up w
or k)
Fo
rm at
iv e:
H an
d in
re se
ar ch
e ss
ay p
la n
by W
ed ne
sd ay
7 th
M ar
ch a
t 3 pm
9 Ho
lly w
oo d
v. ‘I
nd ie
w oo
d’
Fa r
Fr om
H ea
ve n
(T od
d Ha
yn es
, 2 00
2, U
SA )
In
de pe
nd en
t R es
ea rc
h –
Ca se
S tu
dy
an d
Cr iti
ca l S
um m
ar y
10
Ho lly
w oo
d’ s F
ra nc
hi se
s Ba
tm an
(T im
B ur
to n,
1 98
9, U
SA )
In de
pe nd
en t R
es ea
rc h
Fe
ed ba
ck fo
r f or
m at
iv e
vi a
HU B
11
Gl ob
al H
ol ly
w oo
d Cr
ou ch
in g
Ti ge
r, H
id de
n D
ra go
n (A
ng L
ee ,
20 00
, C hi
na /
U SA
) Gr
ou p
Se m
in ar
D isc
us sio
n
12
W or
ks ho
p w
ee k
N
o sc
re en
in g
Re
se ar
ch P
ro je
ct R
ef in
em en
t
13
H
an d
in R
es ea
rc h
Pr oj
ec t
be fo
re 3
pm ,
W ED
N ES
D A
Y 17
th M
A Y
20 17
