Feedback November 2002 (Vol 43 No 4)

More documents

Recommendations

Info

1. As elsewhere in the profession, project deadlines must be met. The grade will droptwo levels (such as from a “B” to a “C+”) for each week day late. For full credit,assignments are due at the beginning of the class period. An assignment turned in afterclass is already one day late. If assignments are turned in to the departmental office,they must be time/date certified by a BCA secretarial assistant.2. All projects must be typed (and on reasonably heavy paper stock) unless otherwisespecified by the instructor. TWO copies normally are required. To promote anonymityduring copy correction, the student’s name should be written on the BACK of theassignment; NOT on the front. The aim is to ensure that instructor evaluation of thisassignment will not be colored subconsciously by student performance on previousones.3. Any assignment with more than two words misspelled is an automatic “E”, exceptfor “timed exercise” spots written in-class. Writers should be conscientious dictionaryand Thesaurus users.4. Class sessions are intended to help the student become acquainted with electronicmedia writing principles. Generally, attendance is not taken although students areresponsible on the final examination for all material covered. Attendance isREQUIRED at all prior-announced “playback criticism” sessions, however, since thereis a mutual responsibility to provide classmates with feedback on their writing efforts.Students will be assessed a four-point deduct (see Evaluation section) for each missed“playback criticism” session.5. “Playback criticism” sessions will be handled as in a real-world media agency.Students should develop a positive attitude toward them, realizing that such criticismcan be very valuable in helping class members mutually to improve their own writingand analytical abilities.6. In the main, this class focuses on commercial and PSA writing because: (a) these arethe most pervasive electronic media format types; and (b) they constitute the mostbasic applications of radio/television syntax. Once this syntax is mastered, long-formaudio/video scriptwriting projects become much more achievable.7. This course assumes and assigns an average of two hours of outside work for everyone hour spent in class.8. It is expected that all students will complete all assignments. In fairness to all, therewill be no “extra credit” options.9. Students are required to visit an off-campus client in order to complete theadvertising campaign proposal.16Feedback November 2002 (Vol. 43, No. 4)
Course ObjectivesUpon course completion, the student should be able to:1. Describe the various copy types utilized in the electronic media industries.2. Define the role of copywriter and the variety of tasks that role encompasses.3. Critique and revise/refine both self-written copy and copy created by others.4. Write effective commercials, public service announcements and other continuityfor radio and television.5. Conceive and prepare television storyboards.6. Sculpt an acceptable entry-level Copywriter’s Portfolio.7. Research and execute a broadcast advertising campaign proposal.8. Structure and deliver formal oral business presentations.General Course Outline(NOTE: Specific daily assignments will be given as the term progresses. Somemodification in time devoted to each subject may occur to compensate for unforeseencircumstances.)Week 1 —Week 2 —Week 3 —Week 4 —Week 5 —Week 6 —Week 7 —Week 8 —Week 9 —Introduction to the copywriter’s world and terms; copywriter’s portfolioand handbook; fundamentals of effective writing.Electronic media punctuation; univoice radio spots; avoiding the “TVsoundtrack” in radio writing; keys to communication that sells.Emotional appeals; print and electronic layouts compared; attitudinalaudience types.Progressive motivation; introduction to rational appeals.Rational appeals on radio; emotional and rational appeals summation;principles of dialogue writing.Requisites of true creativity; transforming print to audio communication;the constant challenge of definition.Principles of PSA (public service announcement) construction; writingthe multivoice spot; exploiting radio’s imaginative primacy.PUNCH (the culminating test for effective radio); blurring thecommercial/PSA distinction; radio musical donuts.Small market radio writing challenges; introduction to television copywriting; the personality promo.Week 10 — Television customization services and techniques; highly competitiveclient categories (the eatery example); principles of campaign design anddevelopment.Week 11 — Individual work and conferences on campaign development projects (thefield assignment).Week 12 — Concluding the field assignment; TV spot conceptualization: the DDQ(Demo-Deriving Quintet).Week 13 — Case studies in television advertising; developing the storyboard.Week 14 — Importance and techniques of effective client presentations; themanagement of forced choice decision-making.Week 15 — Storyboard presentations and client feedback.Week 16 — Final examination utilizing Copywriter’s Handbook; checking of finalizedCopywriter’s Portfolio.BEA—Educating tomorrow’s electronic media professionals 17
Page 2 and 3: Feedback November 2002 (Vol. 43, No
Page 4 and 5: CommentSWOT Analysis: Disney Consid
Page 6 and 7: without adding enough people to do
Page 8 and 9: his favorite questions for prospect
Page 10 and 11: The intellectual satisfaction you
Page 12 and 13: Finding qualitative evidence via te
Page 14 and 15: 2 Using a two-tailed Pearson Correl
Page 16 and 17: • We need to expand digital editi
Page 18 and 19: Two final points: While this paper
Page 22 and 23: EvaluationThere will be approximate
Page 24 and 25: CLASSROOMEMPHASIZING ETHICS: PROMOT
Page 26 and 27: “Avoiding Plagiarism” ( http://
Page 28 and 29: CLASSROOMMULTIMEDIA FOR MORTALS: RE
Page 30 and 31: Video files come in a variety of di
Page 32 and 33: CURRICULUMDISMANTLING THE SILOS: MO
Page 34 and 35: the Web on deadline and conceptuali
Page 36 and 37: CLASSROOMADAPTING DIGITAL LEARNING
Page 38 and 39: strategies. Unfortunately, most tex
Page 40 and 41: Figure 2. Good Practice and the Enr
Page 42 and 43: CLASSROOMSTUDENTS TACKLE SUPER BOWL
Page 44 and 45: Usually, I urge students to use the
Page 46 and 47: aggression with intelligence, when
Page 48 and 49: e lost in sole reporting of undiffe
Page 50 and 51: COMMENT“SCHOOL DAYS, SCHOOL DAYS,
Page 52 and 53: CLASSROOMSWOT ANALYSIS: DISNEY CONS
Page 54 and 55: analysis. SWOT is an acronym for St
Page 56 and 57: Disneyland ResortDisney Vacation Cl
Page 58 and 59: CURRICULUMDON’T ISOLATE E-BUSINES
Page 60 and 61: mention implications from legal and
Page 62 and 63: viable media alternative to televis
Page 64 and 65: management are needed to deliver th
Page 66 and 67: Humboldt, Chris (2000). How E-comme
Page 68 and 69: editing is a place of influence. St
Page 70 and 71:
COMMENTYO, YO, YO! THIS IS THE HIP-
Page 72 and 73:
REVIEWSchroeder, Sheila E. (2002).
Page 74 and 75:
ANNOUNCEMENTS2003-2004 Scholarship
Page 76 and 77:
ANNOUNCEMENTSBroadcast Education As
Page 78:
NEWSJohn Mark DempseyUniversity of
show all

Feedback November 2002 (Vol 43 No 4)

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?