(Major) SCREENWRITINGSciences) written by 15 of 61 1st year BFA Screenwriting students (24% of the...

Annual Learning Outcomes Assessment Report 2017-2018

Degree Program Information

Academic Degree Program (Major) SCREENWRITING

Brief Description of the Program 4-Year Bachelor’s Degree in Screenwriting

Degree (BS, BA, BFA, MFA, MBA, etc.) BA

Department/ School DODGE COLLEGE OF FILM AND MEDIA ARTS

Number of students currently enrolled (as majors) in the program:

180

Contact Person

Name (Person coordinating program’s assessment effort)

PAUL WOLANSKY

Title ASSOCIATE PROFESSOR

E-mail address [email protected]

Learning Outcomes

How many learning outcomes for the program?

5

Please list all learning outcomes below:

#1: Identify, create and write fully dimensional characters #2: Write short and feature length screenplays which demonstrate fundamental storytelling craft and an effective narrative structure #3: Write screenplays that demonstrate a distinctive personal voice #4: Demonstrate competency with industry standard writing style and presentation. #5: Discover and identify the theoretical issues relating to screenwriting.

mailto:[email protected]

ALOAR Template 2017-2018

LEARNING OUTCOME 1

I. PROCESS

1. Learning Outcome Identify, create and write fully dimensional characters

2. Supports University Theme (Some or all of the program’s learning outcomes must support at least two of the university’s strategic themes)

Themes: Internationalization, Personalized Education, Faculty/Student Research, Interdisciplinarity, or Student Writing

Describe how the theme is supported by the learning outcome

Creating and writing characters with the psychological depth and multi-dimensionality to sustain feature films and television series is at the core of this outcome. Screenwriting students must delve into the psychology, sociology and morality of their characters and are encouraged to take elective classes in relevant disciplines to deepen their understanding of the human condition and their understanding of factors which mold the human psyche. This supports the University Theme of Interdisciplinarity.

3. Supports WASC Core Competency, For Undergraduate Programs Only (Please indicate whether this outcome supports any of WASC’s core competencies)

Oral Communication

Written communication

Information Literacy

Quantitative Reasoning

Critical Thinking

The requirement that students be able to create and write characters with psychological depth and multi-dimensionality also supports the WASC Core Competency of Written Communication.

4. Where is the outcome published for students?

Syllabi (If syllabi, list course numbers)

Website

Handbook

During 2016-2017 the “Depth of Characterization” outcome was published in the syllabi of all required BA screenwriting classes (SW-127, SW-128, SW-277, SW-287, SW-326, SW-498.)

5. Evidence of Learning

capstone project

presentation

performance

course-embedded exam

assignment

standardized test

portfolio Attach assignment prompts

For all classes below (i.e., SW-127, SW-128, SW-277, SW-287, SW-326, SW-498) capstone projects were sampled and evaluated for “Depth of Characterization.”

6. Collecting and Analyzing the Data

How did you select the sample?

What was your sample size (number of students)?

Provide the percentage of the sample size as compared to the relevant population.

Final 15-page scripts for narrative short films (akin to the live-action films nominated for Best Short Film by the Motion Picture Academy of Arts and Sciences) written by 15 of 61 1st year BFA Screenwriting students (24% of the class) in SW-127 Screenwriting Intensive were sampled and evaluated for “Depth of Characterization” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 15 pages plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the


How did you assess the student work/data collected?

Possible Tools: rubric, exam questions, portfolio template

Required: Attach all assessment tools

Motion Picture Academy of Arts and Sciences) written by 15 of 61 1st year BFA Screenwriting students (24% of the class) in SW-128 Character Analysis for Writers were sampled and evaluated for “Depth of Characterization” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 30-page First Acts plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 9/40 2nd year BA Screenwriting students (23% of the class) in SW-277 Feature Screenwriting I were sampled and evaluated for “Depth of Characterization” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 120-page screenplays for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 9/39 2nd year BA Screenwriting students (23% of the class) in SW-287 Feature Screenwriting II were randomly sampled and evaluated for “Depth of Characterization” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 30-page First Acts plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Adapted Screenplay by the Motion Picture Academy of Arts and Sciences) written by 13/40 3rd year BA Screenwriting students (32% of the class) in SW-326 Seminar in Adaptation were randomly sampled and evaluated for “Depth of Characterization” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 120-page feature thesis scripts for narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 14 of 37 (38%) of fourth (final) year BA Screenwriting students in SW-498 Thesis in Screenwriting were sampled and evaluated for “Depth of Characterization” according to the Dodge College of Film and Media Arts Screenwriting Rubric.

7. Expected Level of Achievement

What was your target(s) for student performance for this outcome? (This should tie to the methods in which you assessed the students and collected and analyzed data in the section above.)

Characters in 1st year Screenwriting students’ SW-127 Screenwriting Intensive final screenplays and SW-128 Character Analysis for Writers treatments and pages are expected to speak a minimum of stiff, wooden and awkward dialogue. Characters who are clichés, stereotypes, behave in predictable or unmotivated ways are also to be kept to a minimum. Main

characters should change, even if characters’ arcs are forced or formulaic. 1st Year BFA Screenwriting students taking SW-127 Screenwriting Intensive & SW-128 Character Analysis for Writers are expected to score a 2.50 in the “Depth of Characterization” category (see Chapman Screenwriting Rubric.) Characters in 2nd year Screenwriting students’ SW-277 Feature Screenwriting I & SW-287 Feature Screenwriting II screenplays are expected to be generally (i.e., at least part of the time) believable, empathetic, engaging, show some complexity and a clear arc. 2nd year BA Screenwriting students taking SW-277 Feature Screenwriting I and SW-287 Feature Screenwriting II are expected to score a 2.75 in the “Depth of Characterization” category (see Chapman Screenwriting Rubric.) 3rd year BA Screenwriting students taking SW-326 Seminar in Adaptation are expected to write characters who generally (i.e., at least part of the time) act in believable ways, engender empathy in the audience, are engaging, show complexity and demonstrate a clear arc. 3rd year BA Screenwriting students taking SW-326 Seminar in Adaptation are expected to score a 3.00 in the “Depth of Characterization” category (see Chapman Screenwriting Rubric.)


Characters in 4th year BA Screenwriting students’ SW-498 Thesis in Screenwriting screenplays are expected to be real, honest, compelling, empathetic, complex, vivid and emotionally engaging. Main characters are expected to demonstrate profound character arcs. 4th year BA Screenwriting students taking SW-498 Thesis in Screenwriting are expected to score a 3.25 in “Depth of Characterization” (see Chapman Screenwriting Rubric.)

II. PERFORMANCE

1. Have expected levels of achievement been met for this outcome? Explain.

The 1st Year BFA Screenwriting students taking SW-127 Screenwriting Intensive achieved an average “Depth of Characterization” score of 2.93. Of the 15/61 (24%) students assessed, 11 scored at or above and 4 below the 2.50 expected level of achievement. The 1st Year BFA Screenwriting students taking SW-128 Character Analysis for Writers achieved an average “Depth of Characterization” score of 3.05. Of the 15/61 (24%) students assessed, 12 scored at or above and 3 below the 2.50 expected level of achievement. The 2nd year BA Screenwriting students taking SW-277 Feature Screenwriting I achieved an average “Depth of Characterization” score of 3.17. Of the 9/40 (23%) students assessed, 7 scored at or above and 2 below the 2.75 expected level of achievement. The 2nd year BA Screenwriting students taking SW-287 Feature Screenwriting II achieved an average “Depth of Characterization” score of 2.83. Of the 9/39 (23%) students randomly assessed, 5 scored at or above and 4 below the 2.75 expected level of achievement. The 3rd year BA Screenwriting students taking SW-326 Seminar in Adaptation achieved an average “Depth of Characterization” score of 3.07. Of the 13/40 (32%) students assessed, 7 scored at or above and 5 below the 3.00 expected level of achievement. The 4th year/2nd year BA Screenwriting students taking SW-498 Thesis in Screenwriting achieved an average “Depth of Characterization” score of 3.39. Of the 14/37 (38%) students assessed, 8 scored at or above and 6 below the 3.25 expected level of achievement.

2. Please provide a summary of the assessment data in a table (or attach actual student performance data), along with a brief analysis of the results. Attach current year assessment data

Depth of Characterization 2017-2018

127 2.93

128 3.05

277 3.17

287 2.83

326 3.07

498 3.39

Analysis: During 2016-2017, average “Depth of Characterization” scores rose a small amount during the 1st 3 years of the program (1st year = 2.99, 2nd year = 3.00, 3rd year = 3.07) then rose strongly by the end of the 4th year (4th year = 3.39). The percentages of the entire class achieving at or above the expected score was 65% during all 4 years of study (77% of 1st year students scored above the expected 2.50 “Depth of Characterization” score; 67% of 2nd year students scored above the expected 2.75 “Depth of Characterization” score; 58% of 3rd year students scored above the expected 3.00 “Depth of Characterization” score; and 57% of 4th year students scoring above the expected 3.25 “Depth of Characterization” score. The program expects 60% (3/5) of the students to achieve the expected score during each semester of the program. The percentage of students

ALOAR Template 2017-2018 Page 7

LEARNING OUTCOME 2

I. PROCESS

1. Learning Outcome Write short and feature length screenplays which demonstrate fundamental storytelling craft and an effective narrative structure




Structuring feature length screenplays into sub-units (e.g., acts, sequences and scenes) in order to maximize the audience’s ability to absorb screenwriting students’ screenplay themes, characters and plots is at the core of this outcome. Screenplays not only require good stories; they must be told in comic/dramatic scenes paced, proportioned and organized to deliver maximum comic/dramatic impact to the audience. This essential aspect of screenwriting – “storytelling craft”, the ability to “create a good story and tell it well” – supports the University Theme of Student Writing.


Oral Communication




Critical Thinking

The requirement that students be able to write short and feature length screenplays which demonstrate effective storytelling craft and narrative structures also supports the WASC Core Competency of Written Communication.



Website

Handbook

During 2017-2018 the “Storytelling Craft” outcome was published in the syllabi of all required BA screenwriting classes (SW-127, SW-128, SW-277, SW-287, SW-326, SW-328, SW-498.)


capstone project

presentation

performance


assignment

standardized test


For all classes below (i.e., SW-127, SW-128, SW-277, SW-287, SW-326, SW-498) capstone projects were sampled and evaluated for “Storytelling Craft.”




Provide the percentage of the sample size as compared to

Final 15-page scripts for narrative short films (akin to the live-action films nominated for Best Short Film by the Motion Picture Academy of Arts and Sciences) written by 15 of 61 1st Year BFA Screenwriting students (24% of the class) in SW-127 Screenwriting Intensive were sampled and evaluated for “Storytelling Craft” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 15 pages plus 5 – 10 page treatments for 2-hour narrative feature films


the relevant population.




(akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 15 of 61 1st Year BFA Screenwriting students (24% of the class) in SW-128 Character Analysis for Writers were sampled and evaluated for “Storytelling Craft” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 30-page First Acts plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 9/40 2nd year BA Screenwriting students (23% of the class) in SW-277 Feature Screenwriting I were sampled and evaluated for “Storytelling Craft” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 120-page screenplays for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 12/47 2nd year BA Screenwriting students (23% of the class) in SW-287 Feature Screenwriting II were randomly sampled and evaluated for “Storytelling Craft” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 30-page First Acts plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Adapted Screenplay by the Motion Picture Academy of Arts and Sciences) written by 13/40 3rd year BA Screenwriting students (32% of the class) in SW-326 Seminar in Adaptation were randomly sampled and evaluated for “Storytelling Craft” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 120-page feature thesis scripts for narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 14 of 37 (38%) of fourth (final) year BA Screenwriting students in SW-498 Thesis in Screenwriting were sampled and evaluated for “Storytelling Craft” according to the Dodge College of Film and Media Arts Screenwriting Rubric.



BA screenwriting students’ screenplays and treatments in their 1st year SW-127 Screenwriting Intensive and SW-128 Character Analysis for Writers classes are expected to demonstrate an understanding of basic structure and to keep unbalanced or flawed acts to a minimum; to keep the number of pages and scenes to a disciplined amount; and to create as much audience engagement in story and outcome as possible. 1st Year BFA Screenwriting students taking SW-127 Screenwriting Intensive and SW-128 Character Analysis for Writers are expected to score a 2.50 in the “Storytelling Craft” category. BA screenwriting students’ treatments and screenplays in their 2nd year SW-277 Feature Screenwriting I and SW-287 Feature Screenwriting II classes are expected to have solid beginnings, middles and ends; characters and conflicts set up well; engaging and/or suspenseful stories; and have escalating stakes that build to appropriate climaxes and have main characters who have appropriate arcs. 2nd year BA Screenwriting students taking SW-277 Feature Screenwriting I and SW-287 Feature Screenwriting II are expected to score a 2.75 in the “Storytelling Craft” category. BA screenwriting students’ treatments and screenplays in their 3rd year SW-326 Seminar in Adaptation classes are expected to demonstrate strong beginnings, middles and ends; set up character conflicts well; demonstrate suspenseful, engaging stories; &demonstrate main characters with


appropriate arcs, dealing with escalating stakes that build to appropriate climaxes. 3rd year BA Screenwriting students taking SW-326 Seminar in Adaptation are expected to score a 3.00 in the “Storytelling Craft” category. The scripts of 4th year SW-498 Thesis in Screenwriting students’ screenplays are expected to be highly original, riveting, character driven, complex and one-of-a-kind. Each script is expected to contain a personally significant, profoundly affecting theme and controlling idea, i.e., a distinctive cinematic personal voice. 4th year BA Screenwriting students taking SW-498 Thesis in Screenwriting are expected to score a 3.25 in the “Storytelling Craft” category.

II. PERFORMANCE


1st year BFA Screenwriting students taking SW-127 Screenwriting Intensive achieved an average “Storytelling Craft” score of 2.93. Of the 15/61 (24%) students assessed, 11 scored at or above and 4 below the 2.50 expected level of achievement. The 1st year BFA Screenwriting students taking SW-128 Character Analysis for Writers achieved an average “Storytelling Craft” score of 2.83. Of the 15/61 (24%) students assessed, 10 scored at or above and 5 below the 2.50 expected level of achievement. The 2nd year BA Screenwriting students taking SW-277 Feature Screenwriting I achieved an average “Storytelling Craft” score of 3.11. Of the 9/40 (23%) students assessed, 6 scored at or above and 3 below the 2.75 expected level of achievement. The 2nd year BA Screenwriting students taking SW-287 Feature Screenwriting II achieved an average “Storytelling Craft” score of 2.89. Of the 9/39 (23%) students randomly assessed, 5 scored at or above and 4 below the 2.75 expected level of achievement. The 3rd year BA Screenwriting students taking SW-326 Seminar in Adaptation achieved an average “Storytelling Craft” score of 3.05. Of the 13/40(32%) students assessed, 7 scored at or above and 6 below the 3.00 expected level of achievement. The 4th year/2nd year BA Screenwriting students taking SW-498 Thesis in Screenwriting achieved an average “Storytelling Craft” score of 3.49. Of the 14/37 (38%) students assessed, 9 scored at or above and 5 below the 3.25 expected level of achievement.


Storytelling Craft 2017-2018

127 2.93

128 2.83

277 3.11

287 2.89

326 3.05

498 3.49

Analysis: During 2017-2018, average “Storytelling Craft” scores rose during the 1st 3 years of the program (1st year = 2.88, 2nd year = 3.00, 3rd year = 3.05), then increased strongly by the end of the 4th year (4th year = 3.49). The percentages of the entire class achieving above the expected score was well above during the 1st year of study (70% of 1st year students scored at or above the expected 2.50 “Storytelling Craft” score); then was right at the expected average during the 2nd through 4th year of the program (60% of 2nd


LEARNING OUTCOME 3

I. PROCESS

1. Learning Outcome Write screenplays that demonstrate a distinctive personal voice




At the core of this outcome is the individual screenwriting student’s one-on-one work with his/her professor to develop a script which demonstrates a distinct “personal voice” as a screenwriter. Even as each student learns the industry standard conventions of scripting his/her stories, each must simultaneously develop his/her “signature” – his/her idiosyncratic, screenwriter’s voice as demonstrated in his/her plot and character choices. While each class has a common syllabus and curriculum, ultimately each screenplay is unique to its screenwriter, and just as each screenwriter must delve into the psychology, sociology and morality of his/her characters, each screenwriter must also explore how his/her values, morality, and sense of right and wrong is exhibited in his/her plot and character choices. This intensely personal aspect of the screenwriting classes, where the professor simultaneously teaches a common class and a unique class to each individual writing student as each screenwriter works on his/her script and personal voice, supports the University Theme of Personalized Education.


Oral Communication




Critical Thinking

The requirement that students be able to explore how his/her values, morality, and sense of right and wrong is exhibited in his/her plot and character choices, and be able to write with a distinct personal voice also supports the WASC Core Competency of Written Communication.



Website

Handbook

During 2017-2018 the “Personal Voice” outcome was published in the syllabi of all required screenwriting classes (SW-127, SW-128, SW-277, SW-287, SW-326, SW-498.)


capstone project

presentation

performance


assignment

standardized test


For all classes below (i.e, SW-127, SW-128, SW-277, SW-287, SW-326, SW-498) capstone projects were sampled and evaluated for “Personal Voice.”



What was your sample size

Final 15 page scripts for narrative short films (akin to the live-action films nominated for Best Short Film by the Motion Picture Academy of Arts and Sciences) written by 15 of 61 1st Year BFA Screenwriting students (24% of the class) in SW-127 Screenwriting Intensive were sampled and evaluated for “Personal Voice” according to the Dodge College of Film and Media Arts


(number of students)?

Provide the percentage of the sample size as compared to the relevant population.




Screenwriting Rubric. 15 pages of script plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 15 of 61 1st Year BFA Screenwriting students (24% of the class) in SW-128 Character Analysis for Writers were sampled and evaluated for “Personal Voice” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 30-page First Acts plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 9 of 40 2nd year BA Screenwriting students (23% of the class) in SW-277 Feature Screenwriting I were sampled and evaluated for “Personal Voice” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 120-page screenplays for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 9 of 39 2nd year BA Screenwriting students (23% of the class) in SW-287 Feature Screenwriting II were randomly sampled and evaluated for “Personal Voice” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 30-page First Acts plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Adapted Screenplay by the Motion Picture Academy of Arts and Sciences) written by 13 of 40 3rd year BA Screenwriting students (32% of the class) in SW-326 Seminar in Adaptation were randomly sampled and evaluated for “Personal Voice” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 120-page feature thesis scripts for narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 14 of 37 of fourth (final) year BA Screenwriting students (38% of the class) in SW-498 Thesis in Screenwriting were sampled and evaluated for “Personal Voice” according to the Dodge College of Film and Media Arts Screenwriting Rubric.



The screenplays of 1st year SW-127 Screenwriting Intensive and SW-128 Character Analysis for Writers students are expected to contain a minimum of clichés, obvious choices, familiar or predictable elements, and to keep conventional genre formula elements to a minimum. They should attempt to be character-driven, and keep artificial events to a minimum; and they should generally (i.e., at least some of the time) display controlling ideas, even if some of the ideas are unfocused. 1st Year BFA Screenwriting students taking SW-127 Screenwriting Intensive and SW-128 Character Analysis for Writers are expected to score a 2.50 in the “Personal Voice” category. The screenplays of 2nd year Screenwriting students’ SW-277 Feature Screenwriting I and SW-287 Feature Screenwriting II are expected to be generally (i.e., at least part of the time) original, to present genre conventions in new and interesting ways, to be generally (i.e., at least part of the time) driven by characters with authentic, compelling motivations, and to have clear controlling ideas lying at the heart of the stories. 2nd year BA Screenwriting students taking SW-277 Feature Screenwriting I and SW-287 Feature Screenwriting II are expected to score a 2.75 in the “Personal Voice” category. 3rd year BA Screenwriting students taking SW-326 Seminar in Adaptation


are expected to write screenplays which are generally (i.e., at least part of the time) original, contain new and interesting genre conventions, feature characters driven by authentic, compelling motivations, and centered around clear controlling ideas. 3rd year BA Screenwriting students taking SW-326 Seminar in Adaptation are expected to score a 3.00 in the “Personal Voice” category. The screenplays of 4th year SW-498 Thesis in Screenwriting students’ screenplays are expected to be highly original, riveting, character driven, complex and one-of-a-kind. Each script is expected to contain a personally significant, profoundly affecting theme and controlling idea, i.e., a distinctive cinematic personal voice. 4th year BA Screenwriting students taking SW-498 Thesis in Screenwriting are expected to score a 3.25 in the “Personal Voice” category.

II. PERFORMANCE


The 1st Year BFA Screenwriting students taking SW-127 Screenwriting Intensive achieved an average “Personal Voice” score of 2.94. Of the 15/61 (24%) students assessed, 10 scored at or above and 5 below the 2.50 expected level of achievement. The 1st Year BFA Screenwriting students taking SW-128 Character Analysis for Writers achieved an average “Personal Voice” score of 3.11. Of the 12/57 (21%) students assessed, 13 scored above and 2 below the 2.50 expected level of achievement. The 2nd year BA Screenwriting students taking SW-277 Feature Screenwriting I achieved an average “Personal Voice” score of 3.19. Of the 9/40 (23%) students assessed, 7 scored above and 2 below the 2.75 expected level of achievement. The 2nd year BA Screenwriting students taking SW-287 Feature Screenwriting II achieved an average “Personal Voice” score of 3.03. Of the 9/39 (23%) students randomly assessed, 6 scored above and 3 below the 2.75 expected level of achievement. The 3rd year BA Screenwriting students taking SW-326 Seminar in Adaptation achieved an average “Personal Voice” score of 3.03. Of the 13/40 (32%) students assessed, 7 scored at or above and 6 below the 3.00 expected level of achievement. The 4th year/2nd year BA Screenwriting students taking SW-498 Thesis in Screenwriting achieved an average “Personal Voice” score of 3.44. Of the 14/37 (38%) students assessed, 9 scored above and 5 below the 3.25 expected level of achievement.


Personal Voice/ Theme/Controlling Idea

2017-2018

127 2.94

128 3.11

277 3.19

287 3.03

326 3.03

498 3.44

Analysis: during 2017-2018, average “Personal Voice” scores mostly held steady during the first 3 years of the program (1st year (127/128) = 3.03, 2nd year (277/287) = 3.11, 3rd year (326) = 3.03), then rose strongly during the 4th year (498) = 3.44).


LEARNING OUTCOME 4

I. PROCESS

1. Learning Outcome Demonstrate competency with industry standard writing style and presentation.




Presentation and professionalism are at the core of this outcome. Working with the counter-intuitive screenwriting format and learning an often arbitrary set of industry screenwriting stylistic rules, students must elevate the presentation and style of their screenwriting to the level of industry professionals. This supports the University Theme of Student Writing.


Oral Communication




Critical Thinking

The requirement that students elevate the presentation and style of their screenwriting to the level of industry professionals also supports the WASC Core Competency of Written Communication.



Website

Handbook

During 2017-2018 the “Competence in Presentation” outcome was published in the syllabi of all required BA screenwriting classes (SW-127, SW-128, SW-277, SW-287, SW-326, SW-498.)


capstone project

presentation

performance


assignment

standardized test


For all classes below (i.e, SW-127, SW-128, SW-277, SW-287, SW-326, SW-498) capstone projects were sampled and evaluated for “Competence in Presentation.”





15 page scripts for narrative short films (akin to the live-action films nominated for Best Short Film by the Motion Picture Academy of Arts and Sciences) written by 15 of 61 1st Year BFA Screenwriting students (24% of the class) in SW-127 Screenwriting Intensive were sampled and evaluated for “Competence in Presentation” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 15 pages of script plus 5 – 10 page treatments for 2-hour narrative feature






films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 15 of 61 1st Year BFA Screenwriting students (24% of the class) in SW-128 Character Analysis for Writers were sampled and evaluated for “Competence in Presentation” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 30-page First Acts plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 9 of 40 2nd year BA Screenwriting students (23% of the class) in SW-277 Feature Screenwriting I were sampled and evaluated for “Competence in Presentation” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 120-page screenplays for 2-hour narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 9 of 39 2nd year BA Screenwriting students (23% of the class) in SW-287 Feature Screenwriting II were randomly sampled and evaluated for “Competence in Presentation” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 30-page First Acts plus 5 – 10 page treatments for 2-hour narrative feature films (akin to the screenplays nominated for Best Adapted Screenplay by the Motion Picture Academy of Arts and Sciences) written by 13 of 40 2nd year BA Screenwriting students (32% of the class) in SW-326 Seminar in Adaptation were randomly sampled and evaluated for “Competence in Presentation” according to the Dodge College of Film and Media Arts Screenwriting Rubric. 120-page feature thesis scripts for narrative feature films (akin to the screenplays nominated for Best Original Screenplay by the Motion Picture Academy of Arts and Sciences) written by 14 of 37 of fourth (final) year BA Screenwriting students (38% of the class) in SW-498 Thesis in Screenwriting were sampled and evaluated for “Competence in Presentation” according to the Dodge College of Film and Media Arts Screenwriting Rubric.



Over the course of their studies, BA Screenwriting students are expected to learn the counter-intuitive screenwriting format and often arbitrary industry stylistic rules of screenwriting. Screenwriters who submit screenplays to industry people containing screenplay format errors as well as typos and grammatical, spelling and punctuation mistakes will find their screenplays rejected for unprofessional presentation. 1st Year BFA Screenwriting students taking SW-127 Screenwriting Intensive and SW-128 Character Analysis for Writers are expected to score a 2.50 in the “Competence in Presentation” category (see Chapman Screenwriting Rubric.) 2nd year BA Screenwriting students taking SW-277 Feature Screenwriting I and SW-287 Feature Screenwriting II are expected to score a 2.75 in the “Competence in Presentation” category (see Chapman Screenwriting Rubric.) 3rd year BA Screenwriting students taking SW-326 Seminar in Adaptation are expected to score a 3.00 in the “Competence in Presentation” category (see Chapman Screenwriting Rubric.) Senior BA Screenwriting students taking SW-498 Thesis in Screenwriting are expected to score a 3.25 in the “Competence in Presentation” category (see Chapman Screenwriting Rubric.)

II. PERFORMANCE


LEARNING OUTCOME 5

I. PROCESS

1. Learning Outcome Discover and identify the theoretical issues relating to screenwriting.




The core of this SLO deals with analysis and critical thinking. It does not directly support any of the listed University Strategic Themes.


Oral Communication




Critical Thinking

The requirement that students be able to analyze screenplays and discover and identify the theoretical issues relating to screenwriting (Theme and Character Arc, Dramatic Tension, Dramatic Irony, Advertising/Telegraphing, Dangling Causes, 3-Act Structure, Inciting Incident, Culmination, Resolution, Sequences) requires high levels of analytical thinking. This supports the WASC Core Competency of Critical Thinking.



Website

Handbook

During 2017-2018 the “Screenwriting Theoretical Issues” outcome will published in the syllabi of all Script Analysis classes (i.e., SW-257.)


capstone project

presentation

performance


assignment

standardized test


For SW-257, the Final Exam (a combination of short answer and essay questions) was randomly sampled and evaluated for the “Screenwriting Theoretical Issues” (Theme and Character Arc, Dramatic Tension, Dramatic Irony, Advertising/Telegraphing, Dangling Causes, 3-Act Structure, Inciting Incident, Culmination, Resolution, Sequences) outcome. Final analysis





Final Exams written by 10 2nd year screenwriting students (25% of the class) in SW-257 Film Script Analysis were randomly sampled and evaluated for the “Screenwriting Theoretical Issues” (Theme and Character Arc, Dramatic Tension, Dramatic Irony, Advertising/Telegraphing, Dangling Causes, 3-Act Structure, Inciting Incident, Culmination, Resolution, Sequences) outcome, according to the Dodge College of Film and Media Arts Script Analysis Rubric.








Screenwriting students in their 2nd year SW-257 Film Script Analysis class are expected to write analyses which demonstrate a basic understanding of the “Screenwriting Theoretical Issues” outcome. The analyses will be expected to score a 2.75 in the “Screenwriting Theoretical Issues” categories: Theme and Character Arc; Dramatic Tension; Dramatic Irony; Advertising/Telegraphing, Dangling Causes; 3-Act Structure, Inciting Incident, Culmination, Resolution, Sequences.

II. PERFORMANCE


The 2nd year BA Screenwriting students taking SW-257 Film Script Analysis achieved an average “Theme and Character Arc” score of 2.30. Of the 10/40 (25%) students randomly assessed, 4 scored above and 6 below the 2.75 expected level of achievement. The 2nd year BA Screenwriting students taking SW-257 Film Script Analysis achieved an average “Dramatic Tension” score of 3.30. Of the 10/40 (25%) students randomly assessed, 8 scored above and 2 below the 2.75 expected level of achievement. The 2nd year BA Screenwriting students taking SW-257 Film Script Analysis achieved an average “Dramatic Irony” score of 3.40. Of the 10/40 (25%) students randomly assessed, 8 scored above and 2 below the 2.75 expected level of achievement. The 2nd year BA Screenwriting students taking SW-257 Film Script Analysis achieved an average “Advertising/Telegraphing/Dangling Causes” score of 4.00. Of the 10/40 (25%) students randomly assessed, 9 scored above and 1 below the 2.75 expected level of achievement. The 2nd year BA Screenwriting students taking SW-257 Film Script Analysis achieved an average “3-Act Structure, Inciting Incident, Culmination, Resolution, Sequences” score of 3.50. Of the 10/40 (25%) students randomly assessed, 3 scored over and 7 below the 2.75 expected level of achievement.


Screenwriting Theoretical Issues

2017-2018

Theme and Character Arc

2.30

Dramatic Tension

3.30

Dramatic Irony

3.40

Advertising/Telegraphing/ Dangling Causes

3.85

3-Act Structure, Inciting Incident, Culmination, Resolution, Sequences

2.35

Analysis: During 2017-2018, the average “Screenwriting Theoretical Issues” scores showed a great deal of variability. 90% of students scored above the

(Major) SCREENWRITINGSciences) written by 15 of 61 1st year BFA Screenwriting students (24% of the...

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Transcript of (Major) SCREENWRITINGSciences) written by 15 of 61 1st year BFA Screenwriting students (24% of the...