We must begin to see ourselves as research centers that play a role in leadinginnovation in a scholarly discipline, rather than as just production and disseminationorganizations. We must encourage editors who can lead the way in a cooperativeenterprise. We must learn to see our technology staff members as close colleagues whohelp chart the course of publishing in a field because they understand the potential ofinformation technology to affect the ways that our audience conducts research, teaches,and learns. Finally, we must view our colleagues in the libraries—the core market forscholarly publications—as close collaborators who provide expertise on informationorganization, indexing, content management, and the changing needs of users.To be sure, some of the traditional skills that scholarly-book editors have brought totheir work remain as valuable as ever. Identifying, reviewing, and editing the bestscholarly work are still very much needed. However, because the traditional forms inwhich we have published that material may no longer be as relevant as they were in thepast, editors must learn as much as possible about our users—how scholars now dotheir research; read content; use archives, images, data, and technology; and exercisetheir preferences for gaining access to their materials.Publishers traditionally have separate departments devoted to editorial acquisitionsand development, design and production, technology services, marketing, andcustomer service. Increasingly, we’re going to have to find ways to change how thosegroups work together, and to create jobs that merge some of those functions acrossdepartmental lines.In the new organizational model, editors will develop content for publication in bothprint and digital form and will play a role in its organization and design; technologistswill participate in planning the navigation of content and in designing products that fitusers’ needs; production and design staff members will collaborate with authors andprovide expertise on content organization and narrative structure. And marketing andsales departments will be involved in all decisions regarding content organization,functionality, product design, and access-and-dissemination mechanisms, so that theycan work closely in developing effective relationships with customers.How will we as an industry provide the opportunities for professional developmentthat will encourage new publishing leaders to emerge? To ensure that scholarlypublishers can play a central role in the future of scholarly communication, we needstrong leadership from professional organizations as well as from individual publishers.We need formal structures for workshops, institutes, and professional fellowships wherewe bring in colleagues and collaborators from the library, technology, scholarly, andeducational fields to share perspectives, research findings, and practical techniques thatthey have found to be valuable and effective.We need also to encourage experiments that might not initially appear to be directlyrelevant to publishing operations, but that have the potential to yield valuableexperience—for example, studying how scholars use research materials in their work, ordeveloping new systems for searching images in digital archives.Above all, we must be open-minded, flexible, and innovative professionals, willing totake on new roles and learn new skills, while still relying on our traditional strengths aspublishers.Kate Wittenberg is director of EPIC, the Electronic Publishing Initiative at Columbia.BEA—Educating tomorrow’s electronic media professionals 50
CLASSROOMHOW BROADCAST STUDENTS DESCRIBEAND VISUALIZE ACTION <strong>FOR</strong> THE SCREENMichael J. Havice, Marquette UniversityMichael.Havice@marquette.eduPresented at Broadcast Education Association Annual ConventionLas Vegas Nevada April 4 - 7, 2003AbstractHow do script words translate into screen action? How do I learn how to teach aspiringscriptwriters the process involved in writing screen action? This descriptive studyinvestigates how students view screenwriting and directing. How students interpret theaction-writing task as performed by the scriptwriter and the director is the problem. Isit fair to say beginning scriptwriters distinguish between the tasks of developing actionfor the purpose of storytelling versus the task of interpreting the story action for screenpresentation? Students attempting to succeed as scriptwriters must demonstrate anability to write direct action as well as a functional understanding of the relationshipbetween scriptwriting and direction. The aspiring scriptwriter must demonstratewriting aptitude by telling the story rather than directing the action. The difficulty ofteaching effective action writing is repeatedly noted by the difficulties our students havewriting singular action components. For the beginning scriptwriter and directordifficulties are compounded by scenes connected by story. Students must learn topropose communicative action scenes (scriptwriting) and then produce those scenes(directing) before compounding their difficulties by writing and directing their ownwork. The student must learn that, for the audience, action lives in visual memorybecause of the relationship between writer and director. To learn the relationshipstudents must practice scriptwriting scenes and then direct them.How Broadcast Students Describe and Visualize Action for the ScreenProblemWords, words and more words! How do script words translate into screen action? Howdo I learn how to teach aspiring scriptwriters the process involved in writing actiondestined for the screen? I could simply instruct students to write to format and totranslate data into script. The better strategy is to investigate how students view thescreenwriting and directing tasks leading to worthwhile screen action. Teachers need tothink about and analyze how students interpret their scriptwriting tasks. Importantquestions to consider are: 1) What type of assignments and instruction help thestudents write for the screen? and, 2) Do the students we instruct on the fine art ofscriptwriting have the ability to implement the differentiated script expression when51Feedback September 2003 (Vol. 44, No. 4)
- Page 5 and 6: The Telecommunication Arts degree p
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- Page 35 and 36: y stating, “I would rather see a
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- Page 59 and 60: DiscussionThose who teach scriptwri
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- Page 71 and 72: REVIEWFrankland, M. (2002). Radio m
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- Page 77 and 78: BEA NEWSIndiana Moves More Courses
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