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Figure 9.2 ICC of Q9 (This production inspires thoughts of other narratives otherreferences and other contexts …)The slight under-discrimination evident in the dotted curve is not all that surprisingas most productions do not disclose their contextual links as a priority. Creatingsuch links is often done at a level of connotation and symbolism. Accordingly,honours dissertation for each of these 45 productions could be improved by havinga written component that describes in greater detail these implicit contextual links inthe production.9.1.5 Social Relevance not Fully Transparent in AssessmentAssessors in this project tended to slightly under-discriminate the social relevance ofthe project across total score groups. This is evident by the angle of the dotted curveto the line curve as indicated in the figure below:Figure 9.3 ICC of Q17 (Social relevance of this production is…)Assessing graduate screen production outputs in nineteen Australian film schools126
The slight under-discrimination evident in the dotted curve is not all that surprisingas most productions do not disclose the full social relevance of the productionexplicitly or as a priority. This is often done by connotation and symbolism. Someelements of the social relevance is subconscious, often left to the audience todiscern if they wish to do so. Accordingly, honours dissertation for each of these 45productions could be improved by having a written component that describesgreater detail the social relevance of the production.9.1.6 Music Scholarship not Transparent in AssessmentAssessors in this project tended to slightly under-discriminate the musical elementsof the production across total score groups. This is evident by the angle of thedotted curve to the line curve as indicated in the Figure 9.4 below:Figure 9.4 ICC of Q2 (Music: Strong and sustained contribution to the quality of theproduction)The slight under-discrimination evident in the dotted curve is not all that surprisingas the aim of most productions is not to foreground the music. Music is expected tocomplement the content of the production rather than compete with it. Accordingly,honours dissertation for each of these 45 productions could be improved by havinga written component that describes the musical intention of the production in greaterdetail.9.1.7 The Written ComponentMost Australian institutions require a written component in the honours dissertationalready. In the writing component the candidate is able to describe the contributionthat he or she had made to the production. This practice should be endorsed for allthe reasons outlined above. In addition to this requirement this study indicated thatthe written component should address at least four additional items, namely:- research and theoretical underpinnings of the production- implied linkages and connections with other texts- cultural context and relevance- symbolic aspects of the production such as musical intentions.Assessing graduate screen production outputs in nineteen Australian film schools127
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Assessing graduate screen productio
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Project Team and Contact DetailsPro
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Rasch Statistical Analysis and Cons
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StaffNathan Mewitt, for conference
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ContentsList of Acronyms ..........
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List of AcronymsACTAFTRSACUADSAGMAL
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List of TablesTable 5.1 The number
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Figure 6.6Figure 7.1Figure 7.2Figur
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Executive SummaryThe Assessing of S
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PART 11. ASSESSING GRADUATE SCREEN
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• to host a conference that will
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ulky, unwieldy and untenable for th
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Art scholarship: This term is used
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describes the reasons for the art-b
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and problematic. Problems of assess
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assessment. Rather, the feedback pr
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• If it is shown at a properly ac
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from the UK as depicted in Figure 2
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in Higher Education. Sydney, ALTC/U
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accepted notions of scholarship.3.1
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In contrast to the linear unfolding
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Film editors understand the multidi
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3.2.9 Thinking VisuallyWhen it come
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6. The existence of this art-theory
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Jersey, Prentice Hall, 1971 and in
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How do different academics assess s
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The above standard deviation scores
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Is there something more insightful
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Total (%) Mark and the component ma
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Figure 4.10 Schematic representatio
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18.1% 7.6% 59.0% 15.3%MEDIA ARTS CU
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4.4.8 Exhibition SiteThe exhibition
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4.5.2 Role of Conventional Scholars
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4.5.8 Scholarship StandardsThe thre
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The artistic “How” is often pre
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TOTAL % SCOREA-Z CONSTITUENT PARTSF
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Figure 4.20 Logical oppositions and
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ETHICSQ20THE USE OF EMOTIONS IN THI
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The above criteria components const
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2009 and can be found at the follow
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with us on this project. Subsequent
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discerned in Table 5.1 below. It sh
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Figure 5.1 Project Assessment Schem
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Queensland Griffith 5-6 November 20
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VICTORIAN ASSESSMENT GROUP complete
Page 91 and 92: assessment scale of 0 to 100 per ce
Page 93 and 94: 6.3 Linear ScaleIt turns out that,
Page 95 and 96: 6.5 The Rasch Model Probability Cur
Page 97 and 98: Figure 6.5 Category characteristic
Page 99 and 100: 7. RASCH ANALYSIS 17.1 Rasch Analys
Page 101 and 102: 7.1.5 Location of the Threshold Est
Page 103 and 104: Figure 7.5 TC for Q24 (Exhibition s
Page 105 and 106: 7.1.6 Fit of Items to the ModelCons
Page 107 and 108: intense or difficult items to exten
Page 109 and 110: As may be seen, item Q23 (amount of
Page 111 and 112: Q2 SCRIPTFigure 7.17 ICC of Q2 (Scr
Page 113 and 114: Q2 SOUNDSCAPEFigure 7.21 ICC of Q2
Page 115 and 116: Q2 ART DESIGNFigure 7.25 ICC of Q2
Page 117 and 118: This means that highest score group
Page 119 and 120: Q8 ENHANCEMENTFigure 7.33 ICC of Q8
Page 121 and 122: Q13 DURATIONFigure 7.37 ICC of Q13
Page 123 and 124: Q17 SOCIAL RELEVANCEFigure 7.41 ICC
Page 125 and 126: Q22 AIMSFigure 7.45 ICC of Q22 (Thi
Page 127 and 128: 8. RASCH COMPARATIVE ANALYSIS 28.1
Page 129 and 130: FactorSub-groupNumberNMeanproductio
Page 131 and 132: Production Mean location Std deviat
Page 133 and 134: Mean differences amongst Years, Dur
Page 135 and 136: 0.488: it is negative, as expected.
Page 137 and 138: percentage statistic valueCountry A
Page 139 and 140: highest.Factor Sub-group N Mean loc
Page 141: (dots) are somewhat flat compared t
Page 145 and 146: 9.2.5 Local AssessorsThe need to un
Page 147 and 148: Figure 9.6 Graph of mean locations
Page 149 and 150: 9.4.5 State Assessment Committee Mo
Page 151 and 152: 9.4.8 Assessing Crew FunctionsHow d
Page 153 and 154: 6. Auto-ethnographic information is
Page 155 and 156: PART 410. CONCLUSIONS, RECOMMENDATI
Page 157 and 158: Q4THE PUBLICATION VALUE OF THIS PRO
Page 159 and 160: Q12THE DURATION OF THIS PRODUCTION
Page 161 and 162: Q20THIS PRODUCTION HAS ATTAINED ITS
Page 163 and 164: 10.1.9 Conclusion 5: To Be Consiste
Page 165 and 166: - individual contribution to the pr
Page 167 and 168: The result of this project support
Page 169 and 170: scholars, who will be able to follo
Page 171 and 172: Diegetic Life Forms II Conference b
Page 173 and 174: BIBLIOGRAPHYAndrich, David, ‘A ra
Page 175 and 176: Kress, G. and Theo van Leeuwen, Rea
Page 177 and 178: Rasch, G., On general laws and the
Page 179 and 180: INFORMATION SHEETAssessing graduate
Page 181 and 182: Consent FormAssessing graduate scre
Page 183 and 184: 1. OVERALL MARK (%)PRODUCTIONS 1-5
Page 185 and 186: 6. THE CLARITY OF THE THEME/ CENTRA
Page 187 and 188: 12. THE INTELLECTUAL LEVEL OF THIS
Page 189 and 190: 18. OVERALL PRODUCTION VALUES ARE:
Page 191: 24. YOUR RECOMMENDED EXHIBITION SIT
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