WJEC Ignite: Greg Luft


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  • This was my first journalistic tool, back in 1986, when I entered journalism school. A giant leap into the career I aspired to. Isn’t it amazing how little has changed since this machine?
  • Because if you think about it, Woodward and Bernstein wouldn’t have revealed a different Watergate scandal on a tablet computer. They already used what still is our most important tool.
  • The brain. Journalism has always been an intellectual trade. We turn known answers into new questions. Ideas are the value we create: ideas for original questions and observations, that lead to unknown facts and new insights.
  • That’s why news might start with an event, but journalism always starts with an idea. And since we lost our monopoly on media and technology, the one device that distinguishes us from the amateur, is our intellect.
  • All the more striking that we teach students every tool they need but the brain. We never say: just use that medium! Just use that tool! But we do usually say: just have ideas! Without further explanation how to find them.
  • Now, four years ago I became a freelancer. So I needed ideas to sell. I decided to take a training in creative thinking and entered a world I wish I had known twenty years earlier.
  • I learned really effective creative thinking techniques. Few of them however were useful in newsrooms. First of all because no other trade needs so many ideas so quickly.
  • Another problem with some techniques was that journalists rarely dance or finger-paint, in order to find angles to the bank crisis or the next elections.
  • So I decided to find ways to bring more creativity into classrooms and newsrooms. Techniques that are applicable and acceptable for journalists. Quick tricks to find original stories and angles.
  • First I researched the box from which we start thinking. I interviewed 150 students and colleagues in Holland, Belgium and Great-Britain and observed 50 editorial meetings at all kinds of media.
  • Based on my findings, study and experience I wrote a handbook on journalistic ideation. Dutch only, till further notice. But since my name is on a paper book cover, I’m an expert, obviously.
  • This is the first lesson in my handbook: creativity means: breaking patterns. All those routines and habits, that determine how we interpret and evaluate the things we see and know. (Poor Rupert.)
  • Now, you should realize that you teach students many of their patterns. Not that I blame you. Most patterns are not bad at all. In fact, many of them are skills they need to become proper journalists.
  • Also be aware of the paradoxes in journalistic creativity. Such as: journalism is very factual - creativity is all about imagination. Journalism demands critical thinking - creativity requires postponement of judgement.
  • Luckily there is also a strong parallel. Creativity means: keep looking, keep thinking, keep asking for more and more options. Turn answers into questions, indeed, journalism in a nutshell.
  • During my research, I stumbled upon Georges Polti, who found 36 basic stories in literature. Ronald B. Tobias distinguishes 20 Hollywood master plots. So I wondered: how many news angles can I find?
  • The answer I found is: eighteen. A calculation that starts with the first lesson in journalism: the six basic questions, one of those useful patterns you teach your students.
  • By adding the word ‘else’, we simply turn this list into a quick basic trick to help us find more and more answers. Because as I said, the best way to find new ideas, is finding as many as you can.
  • The next step is turning known facts into new questions, into more and more options. Breaking patterns, by associating the answers to the first six questions with other situations, other stories. Just one example of a basic ideation technique.
  • So yes, teach your students all the patterns they need to become proper journalists. But please, also teach them how to find the ideas they need to become excellent journalists. Be it on a typewriter or on any other device. Thank you so much.
  • Act out voice of teacher: Why can’t you turn in more visual packages Act out student: side Students and teachers both have questions….sometimes…the same ones!
  • Speaking of which…….
  • Ethics in action…. Have a student interview another student about a close relative that died. Bring a prop box… to draw from for interactive stand-ups. Debate--A person you’re interviewing is ranting like a crazy person (really crazy)—do you air it?— Guest speakers--they can add news challenges, skills to include or just critique
  • Such as…. i-pad, or smart-phone…. Show off new news aps in the process Have grads tweet tweet in comments to the topic…AND ethical problems they’ve faced. Professionals can critique through skype Bring in best and worst youtube stand ups … Vote on….. after everyone lists one idea by searching twitter and FB. Have students hunt for best web add on for a current story like “Sandy”
  • WJEC Ignite: Greg Luft

    1. 1. Kim Fox The American University of CairoThe American University of Cairo BEA IGNITEBEA IGNITE The Twitter Scavenger HuntThe Twitter Scavenger Hunt
    2. 2. Mary C. Schaffer California State University, NorthridgeCalifornia State University, Northridge BEA IGNITEBEA IGNITE 3-2-1 In Class Assignment3-2-1 In Class Assignment
    3. 3. 3-2-13-2-1 In-Class Assignment Mary C. Schaffer Associate Professor California State University, Northridge mary.c.schaffer@csun.edu +1-818-512-4880
    4. 4. 3-2-13-2-1 The Problem: Did the students…. •Comprehend the lecture? •Understand the core concepts? •What didn’t the students understand? •Are there additional items the students want to discuss?
    5. 5. 3-2-13-2-1 The Students Become the Solution •At the end of the class session I ask the students to write the following •What are things that you learned from today’s instruction? •What are things you still want to learn from this instruction? •What thing you would change about this instruction? 33 22 11
    6. 6. 3-2-13-2-1 The Students Become the Solution Ten minutes before the class ends… •Distribute paper to the students •Use pages from used green books •A good lesson in recycling •All the pages are the same size making it easier to read
    7. 7. 3-2-13-2-1 The Students Become the Solution • When they finish, they turn the papers in with their names on the paper • This also becomes attendance for the day • Ten percent of the course grade is based on in-class assignments & forum postings • Encourages students to attend lectures
    8. 8. 33-2-1-2-1 Library Research Lecture Laura G. • I never knew how to start and navigate through the databases in the library until today. • The importance of key words when searching. I was amazed that if you change one word in the search query or simply add a word, it can make a world of difference and either broaden or narrow your search. • The database called “Ethnic News Watch”. I have always found it very difficult to find anything on minorities and this database is great. And I can even get articles in Spanish.
    9. 9. 3-3-22-1-1 Library Research Lecture Laura G. • I would like more information on how to use EndNote Web. It was confusing when it was explained. • Also, more information on Interlibrary loan. How long does it take to get an article from Interlibrary loan?
    10. 10. 3-2-3-2-11 Library Research Lecture Laura G. • This needs to be two lectures. There was way too much material that we covered in this one class. I need to review all my notes. I am a senior and have never been given a lesson on how to use the library. Why didn’t I learn this my freshman year?
    11. 11. 3-2-13-2-1 Library Research Class Solutions: •We scheduled two additional sessions with the librarian. She offered these during non-class time and students voluntarily attended. We discovered that those students developed a relationship with our librarian. •When the semester was over, students sent me additional emails. • “I graduate this semester. I really wished that I had learned how to use the library earlier in my college career. I’m really going to miss have access to all of this great material.” • “I learned that our library is a “first class” library. I always thought you had to go to someplace like Harvard or USC to have a great library. Our library is just as good as theirs.”
    12. 12. 33-2-1-2-1 Copyright Lecture • A few years ago, I took a screenwriting class, and the professor told us that we could use poor man's copyright to copyright our screenplays. It was interesting to find out that it won't hold up in a court of law. Now I know that I need to register my scripts with the WGA. • I was very surprised to learn that Clyde Stubblefield was sampled from so much. I was surprised that he does not own the copyright for his work, but that James Brown owns it. Now I better understand what “work for hire” means. • For years I have had peers and teachers explain different ways of using media in your work, such as, using under 30 seconds of a song in educational work is okay. I now know that they were just telling me their version of fair use, and that fair use doesn't necessarily mean legal. I've now retrained myself to think that I cannot use any copyrighted material in my work unless I have the permission or if it doesn't matter due to the means of distribution. Brian P.
    13. 13. 3-3-22-1-1 Copyright Lecture • I still don’t understand the issue of Fair Use. When can I use something without getting permission from the copyright holder? If I use something for a school project, is it consider Fair Use? This is confusing to me. • How can we find out how to negotiate copyright issues? I am producing a documentary and I think I want to enter it into festivals. You said that we could get “festival rights” which is different than “all purpose rights”. I don’t understand how you negotiate this. Can you explain more about it? Brian P.
    14. 14. 3-2-3-2-11 Copyright Lecture Brian P. • Why doesn’t CTVA have an entire class regarding copyright. Since we all are majoring in film, television, and multimedia and we all are going to be working with intellectual property, why doesn’t the department have an entire class devoted to legal issues. We need to not only understand copyright, we need to understand trademark, patent, parody, as well as other legal issues. You gave us a definition of each and how they differ, but I would really like to learn more about this and I think the department should offer a class on legal issues.
    15. 15. 3-2-13-2-1 Copyright Lecture Solutions: •I created a hand-out/check list on Fair Use, asked the students to read it before class. We spent 15 minutes discussing Fair Use a week later. •Invite a guest lecturer on Rights and Clearances. This individual spends approximately 15 minutes providing an overview and then we spent an hour answering questions from the students.
    16. 16. 3-2-13-2-1 Outcomes: •I used the students responses throughout the semester in my lectures. It helped to reinforce the key learning objectives. •3-2-1 allowed students who didn’t speak in class (because of shyness or other reasons) have their voice heard. •I use the responses from the previous semester to tweak my syllabus for the next semester. •I use the responses to reinforce specific points the following semester.
    17. 17. 3-2-13-2-1 Outcomes: •Students feel they have a “voice” in the class. •This provides continuing classroom assessment. •Provides excellent feedback for me, the instructor.
    18. 18. 3-2-13-2-1 • Please take out a piece of paper and complete a 3- 2-1 exercise for this session. • This will reinforce what you have learned.
    19. 19. 3-2-13-2-1 Thank you!
    20. 20. Greg Luft Colorado State UniversityColorado State University BEA IGNITEBEA IGNITE Stacking, Structure and StoryStacking, Structure and Story
    21. 21. 39  Stacking,Stacking, Structure and StoryStructure and Story A different approach to scriptwritingA different approach to scriptwriting
    22. 22. 40  Helps students to visualize the production process in: Pre-Production Field Production Footage Review Writing Editing STACKING
    23. 23. 41  First Step of Project Explain the linear nature of television stories, and discuss the typical ingredients. Show students a finished two column video and audio script.
    24. 24. 42   Natural Sound: Environmental, Subject-specific, Content-rich  Music: Recorded on site or pre-recorded  Interviews: Formal, informal, in action  Narration: Written for reporter track  Reporter Standup  SFX Discuss Audio Ingredients
    25. 25. 43   Video  Talking Heads  Still Photos  Text  On-Camera Talent  Graphics  Animation Discuss Visual Ingredients
    26. 26. 44  Visuals are sequenced  Wide, Medium, Tight,  Establish Subject, Location; Provide Detail, Re-establish.  Shots, Sequences, Scenes, and Stories  Compare to Words, Sentences, Paragraphs, etc. Brief review of video basics
    27. 27. 45  Use “stack” representations to match ingredients in two columns Narration Natural Sound or Music Soundbite Video Audio
    28. 28. 46  In Class Demonstration This tractor was made in 1946. It’s the only one of its kind known to exist, and owner Harold Smith thinks it’s extremely valuable. Natural sound: Old tractor starts up “I think I could sell it for 100 Thousand Dollars.” In class, utilize a set of empty boxes Play a television story in full Then play the same story in small segments, filling in the stack to show how the content would appear in a stacked script.
    29. 29. 47  Stack is an audio-centric storyboard Narration Natural Sound or Music Soundbite Narration Natural Sound or Music Soundbite Assign simple story. . Students begin in groups, using stack for pre-production planning. Require students to collect the appropriate ingredients for the specific structure you have in mind.
    30. 30. 48   Students utilize the stack in the field as a guide to collect specific ingredients, regardless of the story topic.  Once field production is complete, the stack is converted into script. Field Production
    31. 31. 49  Explain how the ingredients work together Narration Natural Sound or Music Soundbite Narration Natural Sound or Music Soundbite Subject, Transition, Attention Connect to visuals Provide details Set context for soundbite Authority, Eyewitness, Character Scene 1 Scene 2 NEW SCENE
    32. 32. 50  Students write scene by scene, with the ingredients dictating their text. Structure Narration Natural Sound or Music Soundbite Narration Natural Sound or Music Soundbite
    33. 33. 51 Emphasize that organization of audio boxes in the stack can vary depending on collected content, and story complexity. Structure Variation Narration: Can be very short or long. Natural Sound (can be multiple cuts) Soundbite(s) Narration Natural Sound or Music Soundbite
    34. 34. 52   Explain that text content should be self-contained, but connected to visuals. Writing
    35. 35. 53  The vertical stacks translate very well into an edit program timeline. Students make an immediate connection. Editing process is simplified. Timeline Visual
    36. 36. 54   Students turn in their stacks, scripts, and finished project  Show the elements of each in class.  Discuss effectiveness, and how this process can be utilized in future projects. Finished Assignments Narration Natural Sound or Music Soundbite Narration Natural Sound or Music Soundbite
    37. 37. Michael Bruce The University of AlabamaThe University of Alabama BEA IGNITEBEA IGNITE Starting Class Right: Syllabus DayStarting Class Right: Syllabus Day
    38. 38. Starting Class Right: Syllabus Day Syllabus Day
    39. 39. Challenge What can be done to enhance the first day of class in a way that emphasizes the real world aspects of a sports broadcasting career?
    40. 40. Background Course set up as broadcast network (TCF Sports Network) Students treated as employees in training Applicable to any course (small is better) Start the course off right with Syllabus Day
    41. 41. Delivery Deliver course materials in class on first day to each student using mail (post) envelopes.
    42. 42. Personalize d Materials are personalized in advance to each student enrolled in the course.
    43. 43. Course Materials Employment notification letter Employee Development Manual Contract
    44. 44. Employment notification letter Letter from fictional HR director, notifying student of their new entry- level position and directing students to report to me for their 16-week training course.
    45. 45. Employee Development Manual a.k.a. traditional syllabus printed in book format
    46. 46. Employee Development Manual Written to emphasize similarities to professional performance standards.
    47. 47. Contract
    48. 48. One on one learning opportunities Need for urgency Relaxed Tension Learning by doing rather than knowing Simulate real world experience Outcomes
    49. 49. How long did this take you? Why did you spend so much time on these? I wish you would have emphasized the importance of classes before now. Student Reaction
    50. 50. Contact Michael Bruce, PhD mdbruce@ua.edu
    51. 51. Tim Hudson Point Park UniversityPoint Park University BEA IGNITEBEA IGNITE Social Responsibility of JournalistsSocial Responsibility of Journalists on a Global Scaleon a Global Scale
    52. 52. Judy Oskam Texas State UniversityTexas State University BEA IGNITEBEA IGNITE Teaching Hybrid JournalismTeaching Hybrid Journalism
    53. 53. Teaching Hybrid Journalism Judy Oskam Professor & Director oskam@txstate.edu @judyoskam 1
    54. 54. Hybrid Classes • Combine effective online and classroom experiences • Connect students to a campus & professor • Boost student enrollment • Maximize university facilities • Might generate distance fees • Allow faculty to transition to online 2
    55. 55. Journalism Experience Faculty Expertise –Writing –Reporting –Video/audio/web –Creating content –Chunking information –Working on deadline Experiential Learning 3
    56. 56. Organization • Start with assessments & work backwards • Develop your course schedule & syllabus • Structure routine assignments • Connect students with you & the content • Dates or calendar in one location 4
    57. 57. Oskam CREATE Method •C – connect •R – realistic •E – evaluate •A – accessible •T – time commitment •E – ergonomics 5
    58. 58. Connect • Welcome message • Personal comments on assessments/assignments • Meet with students on campus, by phone, chat, skype, • Audio & video lectures • Weekly assignments – small stakes • On campus meetings (workshop format) 6
    59. 59. Realistic • Play to your strengths • Audio vs. video (Camtasia Relay, Prezi) • Due dates (weekly, Sunday night) • Post Learning Modules • Rubrics help you and the students • Applied (off-line) assignments (conduct interviews, cover events) • Provide student examples with permission 7
    60. 60. Evaluate • Determine how much time you will spend on each class/assignment/project • Review quiz and assignment content • Monitor participation on forums/chat rooms • Use the site stats tool in your LMS • What’s working? Email traffic & questions will help you with this 8
    61. 61. Accessible • Be approachable • Make it easy for students to reach you • Set your email policy so students know when you will respond • Make sure students know you are a ‘real person’ 9
    62. 62. Time Commitment • Start early • Schedule online time • Online or virtual office hours • Pace your assignments & quizzes so you can provide feedback • Avoid the correspondence model 10
    63. 63. Ergonomics • Desk/chair/computer –Work standing up at a counter or raised desk • Take breaks • Position of screen • Schedule a massage (really!) 11
    64. 64. Teaching Hybrid Journalism •C – connect •R – realistic •E – evaluate •A – accessible •T – time commitment •E – ergonomics 12
    65. 65. Questions & Comments Judy Oskam oskam@txstate.edu 3rd World Journalism Education Congress Mechelen, Belgium 3-5 July 2013 13
    66. 66. Karel van den Berg Windesheim School of MediaWindesheim School of Media BEA IGNITEBEA IGNITE Pattern Breaking NewsPattern Breaking News
    67. 67. My first journal istic tool (1986)
    68. 68. Little has changed
    69. 69. new questi ons Intellectua l trade known answer s het enige journalistieke gereedschap dat ik al die jaren ben blijven gebruiken is mijn brein. en het werkt nog steeds - tenminste, as far as I can tell. But I better let you be the judge of that, het enige journalistieke gereedschap dat ik al die jaren ben blijven gebruiken is mijn brein. en het werkt nog steeds - tenminste, as far as I can tell. But I better let you be the judge of that,
    70. 70. News might start with an event, journalism always starts with an idea
    71. 71. Why don’t you teach them their most valuable tool?!
    72. 72. Uh...
    73. 73. Please stand by Waiting for connection with the right brain
    74. 74. Journalist ic box
    75. 75. You teach them patterns!
    76. 76. credits: Reporters Without Borders
    77. 77. credits: Reporters Without Borders credits:ReportersWithoutBorders onafhankelijk van welk medium dan ook: zelf overstap gemaakt van krant naar televisie en ater online: een ding bleef hetzelfde, een journlistiek gereedschap bleef onveranderd broodnodig, dag in dag uit, al haperde het weleens, ik gebruik het nog steeds. nee, niet potlood en papier - dat ben ik veel mindr gaan gebruiken. onafhankelijk van welk medium dan ook: zelf overstap gemaakt van krant naar televisie en ater online: een ding bleef hetzelfde, een journlistiek gereedschap bleef onveranderd broodnodig, dag in dag uit, al haperde het weleens, ik gebruik het nog steeds. nee, niet potlood en papier - dat ben ik veel mindr gaan gebruiken.
    78. 78. who what when where why how
    79. 79. who what when where why how else? else? else? else? else? else?
    80. 80. who what when where why how else? else? else? else? else? else? too? too? too? too? too? too? not? not? not? not? not? not?
    81. 81. ...but also how to break them! So teach ‘em journalistic patterns...
    82. 82. Gwin Faulconer-Lippert Rick Allen Lippert Oklahoma City Community CollegeOklahoma City Community College BEA IGNITEBEA IGNITE SMARTer MoJo:SMARTer MoJo: The 5 Minute ChallengeThe 5 Minute Challenge
    83. 83. SMARTer MoJo The 5 Minute Challenge Creating Success / Avoiding Disaster ... Using your SMART phone!
    84. 84. SMARTer MoJo The 5 Minute Challenge Creating Success / Avoiding Disaster Using Your S.M.A.R.T. Phone! WJEC-3 IGNITE Gwin Faulconer-Lippert Oklahoma City Community College Rick Allen Lippert University of Oklahoma
    85. 85. Brief Bios Gwin Faulconer-Lippert  25 years as Professor of Mass Media Communications  30 years as radio/TV host  Clear Channel reporter/stringer  Radio/TV voice talent  NATPE Fellow (2003 & 2008)  NISOD Master Teacher (2003)  President’s Award for Excellence in Teaching (2003)  BEA Board of Directors, District 7 (2007-2012) Rick Allen Lippert  Owner, Lippert Media, LLC  15 years Adjunct Professor  35 year video production professional  Apple Certified Trainer (2005 – present)  Lynda.com author of On-Camera series  NATPE Fellow (2008)  Outstanding Adjunct Professor (2003)
    86. 86. The 5 Minute Challenge Creating Success / Avoiding Disaster MoJos must know and do it all right... if they are S.M.A.R.T. They incorporate the work of 5 professionals into 1, a MoJo. Take the 5 Minute Challenge as our students do. See if you are MoJo ready! OK? Begin: • View the Five S.M.A.R.T mobile journalism principles. • For each of the five S.M.A.R.T. key points, you have one minute to: - view the photo of a MoJo key disaster and the photo of a MoJo key success - identify the good practices and disastrous practices - explain the difference/repercussions of the disaster/success practice • In just 5 minutes and using the S.M.A.R.T. start challenge, mobile journalists can SEE what separates MoJo successes from disasters.
    87. 87. SMARTer MoJo The 5 Minute Challenge S – SET UP •The Equipment -Smart phone -Monopod or tripod -Microphone •Vericorder MoJo Kit -mCAMlite phone housing -Small LED light -Monitoring mic cable
    88. 88. The Sidebar for Better MoJo: SMARTer MoJo The 5 Minute Challenge • M - MONITORing • As it is… –Review subject’s appearance –Note good looks vs. bad • Pay attention to: –background –noise –lighting • Connect location to story through framing • As it looks on screen… –Check the SMART Phone camera composition & background. –Check eye contact of subject. Be your own critic! Look closely at your subject’s appearance in the monitor. Check for distractions…weird hair, smudges, flapping shirt, wiggling cats, etc. Your location is your story to your viewer. This is the tricky part! Make sure you or your subject are looking at the right place. Learning where to look is key to being perceived well.
    89. 89. The Sidebar for Better MoJo: SMARTer MoJo The 5 Minute Challenge • A - AUDIO • Do not use built-in mic • Hand-held or clip-on mic best • Second best is attached mic • Volume should have presence and no distracting noises • Monitor with head phones Your audio is over 51% of the message. Audio must be monitored for quality. Vericorder cord allows listening through the phone headphone jack.
    90. 90. The Sidebar for Better MoJo: SMARTer MoJo The 5 Minute Challenge • R - READINESS – Practice with front-facing lens: – Be Camera Ready • Look prepared • Lock in eye contact/energy • Act like you know what you are doing • Enunciate words • Record/watch/learn • Practice, practice, practice – Be Equipment Ready • Fully charged/Focused • Know your gear Reporters: Look at front-facing lens NOT the screen. Connecting: Viewers remember 97% how something is said… Remember who you’re talking to… Prepare, Prepare, prepare. Repeat recorded phone rehearsal as many times as it takes to develop your style. Be yourself but better. Now is NOT the time to be reviewing the manual. Test your gear!
    91. 91. The Sidebar for Better MoJo: SMARTer MoJo • T- TECHNIQUE • Equipment – Steady tripod shot is best – Camera at eye level or higher – It’s a horizontal world – Light: use it! – Right mic for the job • Reporter – Eye contact with lens – Speak slowly with authority – Think, set the scene, then tell the story concisely – Say your name with confidence What they know is what you show. Keys to making that in-person connection. Your technique is your presence. It defines your persona and makes the viewer prefer you. Practice your name/your style until it is second nature to you. Deliver your final thought, your station’s name and your name to punctuate your report. It’s a signature to your work!
    92. 92. The 5 Minute Challenge Set-up, Monitor, Audio, Readiness, Technique It’s worth 25 points!!! Can you name the disasters from each S.M.A.R.T. category?
    93. 93. S.M.A.R.T.  Set Up: Equipment, light, mic  Monitoring: Subject/background  Audio: Headphones, noise Readiness: Functional/focused  Technique: Professional look and sound
    94. 94. S.M.A.R.T.er MoJo How did you do with the 5 Minute Challenge? ? points out of 25
    95. 95. SMARTer MoJo The 5 Minute Challenge Creating Success / Avoiding Disaster Using Your S.M.A.R.T. Phone! WJEC-3 IGNITE gfaulconer@occc.edu lippert@ou.edu
    96. 96. Michael Huntsberger Linfield CollegeLinfield College BEA IGNITEBEA IGNITE Turn your undergraduate studentsTurn your undergraduate students into History Detectivesinto History Detectives
    97. 97. Improving the mass mediaImproving the mass media history project:history project: Turning undergraduateTurning undergraduate students into “Historystudents into “History Detectives”Detectives” Michael HuntsbergerMichael Huntsberger Department of Mass CommunicationDepartment of Mass Communication Linfield College, McMinnville OR USALinfield College, McMinnville OR USA World Journalism Education Conference 3 - Ignite!World Journalism Education Conference 3 - Ignite! Mechelen, Belgium July 2013Mechelen, Belgium July 2013 TMTM Image: http://oregonnews.uoregon.edu/lccn/sn84022657/1862-09-06/ed-1/seq-1/ Improving
    98. 98. The problem • Students not interested in media history. • Students lack connections to the past. • Students lack training in historical research methods. The result • Disengaged students. • Poor research papers. Image: http://www.onlineuniversities-weblog.com/50226711/images/bored_student.jpg
    99. 99. The idea • Connect students toConnect students to media history throughmedia history through the history they knowthe history they know best and they canbest and they can access - their familyaccess - their family history.history. Imagehttp://2.bp.blogspot.com/_H5kAZb40_o8/SwMGk63R7DI/AAAAAAAABt4/f1vfoaIYXt w/s1600/family+reunion-2.jpg
    100. 100. The inspiration • History Detectives (Public Broadcasting Service, USA) • Programs available on line http://www.pbs.org/opb/histo > Image: http://fox-lenz.com/wp-content/uploads/2011/02/pbs-history-detectives-comp-442x590.jpg
    101. 101. The assignment • Identify a communication artifact from family history - personal letter, diary, photograph, newspaper article, magazine article, audio or videotape recording, etc. • Answer these research questions: • How does this artifact connect your family to a specific issue, event, or person in a specific medium during a specific time in U.S. mass media history? • What is its significance in the context of media history? • Write a 3000-3500 word paper.
    102. 102. The final paper (rubric) • Project design (25%) - introduction, research questions, literature review, methodology. • Original research (35%) - primary sources, evidence, relevance. • Analysis and conclusions (30%) - explanation, interpretation, context. • Composition (10%) - scholarly standards, grammar, citations, references.
    103. 103. The example • Title: Political Ideology, Nationalism and their effects on reporting during the [US] CivilWar. • Artifact: 3x great grandfather’s journal entry from September 8, 1862 - “Read news of a battle at Bull Run, Union troops victorious.” • RQs: How did he receive the news? Since historians regard the battle as a Union defeat, why did he believe it was a Union victory?
    104. 104. The evidence • Student travels to state newspaper archive, locates report in September 2, 1862 edition of The [Jacksonville] Oregon Sentinel. • Journal documents the ancestor was in Jacksonville throughout September 1862. Image: http://oregonnews.uoregon.edu/lccn/sn84022657/1862-09-06/ed-1/seq-2/
    105. 105. Other projects • A family member’s service in a US CivilWarA family member’s service in a US CivilWar regiment led to a comparative study ofregiment led to a comparative study of newspaper coverage of large and small battlesnewspaper coverage of large and small battles on July 4, 1863.on July 4, 1863. • A medal awarded by the Chinese governmentA medal awarded by the Chinese government sparked a comparative investigation ofsparked a comparative investigation of magazine and film coverage of the Chinamagazine and film coverage of the China airlift during World War II.airlift during World War II. Image: http://www.michigan.gov/images/civsoldi_9757_7.gif; http://dmn.wpengine.netdna- cdn.com/wp-content/uploads/2012/03/Flying-Tigers-Scramble.jpg
    106. 106. The outcomesThe outcomes • Nature and scope of class discussions showedNature and scope of class discussions showed students were more enthusiastic about the finalstudents were more enthusiastic about the final project.project. • Office hour contacts and online discussionOffice hour contacts and online discussion boards showed students were more engagedboards showed students were more engaged with the instructor, and with each other.with the instructor, and with each other. • More substantive - and interesting - projects!More substantive - and interesting - projects! • 4% improvement in scores for the course.4% improvement in scores for the course. Image: http://www.gpb.org/files/national/history_detectives.jpg
    107. 107. Pamela Tran The University of AlabamaThe University of Alabama BEA IGNITEBEA IGNITE Ignite Through InteractionIgnite Through Interaction (Not your mother’s fishbowl exercise)(Not your mother’s fishbowl exercise)
    108. 108. 131131 IgniteIgnite Ignite Through Interaction—Ignite Through Interaction— (Not your mother’s fishbowl exercise!)(Not your mother’s fishbowl exercise!)
    109. 109. 132132 #?%! ?????
    110. 110. 133133 How can we improve The basic skills of our electronic news students?
    111. 111. 134134 With an easy practice drill that can be worked into every class and any time you have an extra five minutes….
    112. 112. 135135 The basic “formula”The basic “formula” 3-shot sequence 60” live shot A good lead or lead-in Focused story angle Good interview questions Descriptive writingDescriptive writing ?????? Two strong sources Web add-ons Good teases Good nat sound Localize the story Interactive bridges ???
    113. 113. 136136 ThenThen…… PullPulla current story idea. MatchMatch it with a skill from your list. PickPicka student to answer/explain/”go-live”/or “role-play” with another student. The whole classThe whole class can join in and learn from the process.
    114. 114. 137137 YourYour TurnTurn
    115. 115. 138138 Variations on theVariations on the formulaformula Ethics in action—role-play Take a note from comedians—Bring a prop box Old school debate—Team for/team against Include the professional guest speakers
    116. 116. 139139 AddAdd inin thethe NewNew Tech—Tech— You can “draw” the current story from mobile devices Crowd source—Have grads tweet in Scavenger hunt—for the best web add-ons Skype in professionals Best and Worst Practices—youtube—Bring it! Vote on the lead story for tonight’s cast…
    117. 117. 140140 YouYou get the idea…Mixget the idea…Mix it up!it up! What would you add?What would you add?
    118. 118. 141141 Ignite Through InteractionIgnite Through Interaction Pamela Doyle Tran pam@ua.edu University of Alabama
    119. 119. Butler Cain West Texas A&M UniversityWest Texas A&M University BEA IGNITEBEA IGNITE Ignite Through InteractionIgnite Through Interaction (Not your mother’s fishbowl exercise)(Not your mother’s fishbowl exercise)
    120. 120. 143Dialogue, twitter and geo quizzes International Journalism WJEC-3 Ignite Butler Cain, Ph.D. West Texas A&M University
    121. 121. 144 Course Title and objectives MCOM 3392: Special Topics – International Journalism Summer II 2012 Primary Academic Objectives Develop an understanding of the emergence and influence of global digital media Become adept at recognizing different cultural perspectives in foreign news programming Develop an understanding of and appreciation for the important role Twitter plays in disseminating information about developments in global journalism Become more knowledgeable about global geography
    122. 122. 145 Textbook and discussion Hachten, William A. and Scotton, James F. (2012). The World News Prism: Challenges of Digital Communication, 8th edition. Wiley-Blackwell. Class sessions included discussion of the day’s chapter assignment. Tables were arranged into a large rectangle to encourage face-to-face dialogue. Students led the conversation, and the instructor followed up on topics that needed some more examination.
    123. 123. 146 Foreign news programming The course introduced students to eight English-language foreign news organizations during the summer semester. Press TV (Iran) – http://www.presstv.ir Al Jazeera (Qatar) – http://www.aljazeera.com France 24 (France) – http://www.france24.com/en NHK World (Japan) – http://www3.nhk.or.jp/nhkworld CCTV (China) – http://english.cntv.cn/01/index.shtml RT (Russia) – http://rt.com Link TV – “Mosaic” (Middle East) http://www.linktv.org/mosaic Voice of America – “In Focus” (Africa) http://www.voanews.com
    124. 124. 147 News websites
    125. 125. 148 Weekly News Analyses Students watched four English- language international newscasts in class each week. They examined these programs for their cultural and journalistic perspectives. Students wrote five weekly analyses throughout the course of the summer semester. Each was two pages, double spaced.
    126. 126. 149 Twitter enhanced the course Twitter served multiple classroom purposes Engaging with the international news broadcasters the students were analyzing Recruiting guest speakers Promoting the course and WTAMU to a larger online audience
    127. 127. 150 Tweeting for spj Students researched current events related to international journalism and then wrote tweets that included hyperlinks to the web-based reports. Their tweets were then retweeted by the Society of Professional Journalists’ International Journalism Committee.
    128. 128. 151 You can’t study international journalism … … without studying the world’s geography. There were five geography quizzes featured in this course, one per week. Straight from the syllabus: Geography Quizzes Stop freaking out! You’ll be given the opportunity to study long before you take the quizzes. Think about it as an opportunity to learn more about your world and to become a better global citizen. Quizzes will focus on Europe, Asia, Africa, the Middle East and Central and South America.
    129. 129. 152 Student reactions Responded to the course’s “open format” and vigorously participated in daily discussions Were impressed with the types of news stories covered by the international broadcasters Were surprised by the occasional presence of anti- American or anti-Western points of view expressed on the international programs Used the course to enhance their Twitter skills Accepted the geography quizzes as a fun challenge
    130. 130. 153 Thank you! Butler Cain, Ph.D. Department of Communication West Texas A&M University Canyon, Texas Email: bcain@wtamu.edu Twitter: @ButlerCain
    131. 131. Slides available onlineSlides available online beaignite.wordpress.com/wjecbeaignite.wordpress.com/wjec BEA IGNITEBEA IGNITE