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every recorded, mediated, animated and rendered image will be an element of ourdiscipline? Potentially there is a risk that our discipline will be defined by the audiovisualmedium itself. Even CCTV recordings may have to be considered as anelement of our discipline.Historically, there has indeed been a tendency within academia to define screenproduction as an audio-visual craft, probably because until quite recently createdimages were not all that plentiful. For example photographs that are older than 100years are comparatively rare and moving pictures even more so. There is, however,no shortage of visual material at the present moment. Rather, the opposite is thecase – images are to be found everywhere and on every topic. Not all of theseimages should be embraced by the screen production discipline. For all thesereasons it may be timely for screen producers to reconsider the limits of what theydo as a discipline and redefine their discipline afresh.This report has argued for a definition of the medium that is based on the unity ofscholarship and art in which art is defined as a much richer albeit much morecomplex (and thus imprecise) type of scholarship. In any future study one wouldwant to argue that art practice should be a necessary and a defining component ofour discipline. Art/Heart as well as Abstraction/Mind should be in the content ofscreen productions and we should assess productions by the extent they illuminatehuman experience first and foremost. In this perspective, image-based practice isneither conventional scholarship nor art practice but both and necessarily both.10.4 Dissemination10.4.1 Dissemination by CollaborationThis project had created an audience and impact even before the results wereformally known. For two and a half days, thirty assessors from 22 institutions sawsome of the most interesting honours productions made in Australia. The experienceof these assessors were no doubt communicated to other production staff in the 22participating institutions. Together with Rasch statistical analysis and the twoconferences associated with the project (as well as other events and forums) thishas resulted in:• collaboration amongst nineteen Australian film schools to generate sharedinformation on standards, assessment and reporting• enhanced understanding of standards, assessment and reporting practicesfor Screen Production sector as a whole• enhanced understanding of standards, assessment and reporting practicesfor Creative Arts sector as a whole.10.4.2 Quantitative Body of EvidenceThe results of this project have provided ASPERA sector with the body ofquantitative evidence by which it will be possible for the sector to negotiate with itsacademic regulators such as the ARC and other relevant federal and stateinstrumentalities for the very first time. The SPAS data and the results obtainedwill make it possible to formally define, test, validate and regulate academicstandards, assessment and reporting practices using SPAS scores as set out in theabovementioned recommendations. This will require an ongoing consultations anddissemination of the project results within and beyond the ASPERA sector.The outcomes of this project will assist other emerging creative arts and new mediaAssessing graduate screen production outputs in nineteen Australian film schools152
scholars, who will be able to follow the example of screen producers and create theirown set of SPAS like criteria based on Rasch modelling and analysis. This too willrequire an ongoing dissemination of this project.This project has also given us an opportunity to provide leadership internationallyand through our collaborators. Together we will be able to develop and supportreciprocal national and international arrangements for the purpose of sharing andbenchmarking learning and teaching processes. Another international collaborationof this kind will be arranged with our UK collaborators in 2011.10.4.3 ASPERA AGM ConferenceThe results of this project were first presented to members of our ASPERAreference group on 8 July 2010 during the 2010 ASPERA AGM Conference at UTS,Sydney. This conference included most Australian assessors that participated in theproject. For these reasons, it was very much a detailed, and an in-house, type ofpresentation.Illustration 10.1 The first project slide for the ASPERA 2010 AGM Conference10.4.4 Diegetic Life Form II ConferenceScreen production, creative arts practice and new media scholarship all invokecomplex, multidimensional and interdependent processes. The second conferenceassociated with this project, invited scholars, postgraduates and students from othercreative arts disciplines to share our result with the view that they too might find ituseful. Another aim of the conference was to show that convergent curriculum ofScreen Production, Creative Arts and Digital Content has a great potential forstudents in the Humanities, Arts and Social Science sector today at bothundergraduate and postgraduate level.Assessing graduate screen production outputs in nineteen Australian film schools153
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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
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assessment scale of 0 to 100 per ce
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6.3 Linear ScaleIt turns out that,
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6.5 The Rasch Model Probability Cur
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Figure 6.5 Category characteristic
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7. RASCH ANALYSIS 17.1 Rasch Analys
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7.1.5 Location of the Threshold Est
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Figure 7.5 TC for Q24 (Exhibition s
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7.1.6 Fit of Items to the ModelCons
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intense or difficult items to exten
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As may be seen, item Q23 (amount of
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Q2 SCRIPTFigure 7.17 ICC of Q2 (Scr
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Q2 SOUNDSCAPEFigure 7.21 ICC of Q2
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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 and 142: (dots) are somewhat flat compared t
Page 143 and 144: The slight under-discrimination evi
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: The result of this project support
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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