WGST 51 / COLT 39: Mirror, Mirror on the Wall

Course: WGST 51/COLT 39 – Mirror, Mirror on the Wall
Instructor: Nancy Canepa

The Basics.
For your major project in this course you will be making a video together with 2 other students (i.e., groups of 3). Group selection is up to you; given the nature of the project, choose people whom you not only get along with, but who share your ideas on interesting directions in which to expand your experiences with fairy tales. You’ll make your videos using iMovie, and with the extensive help of the Jones Media Center (see syllabus for various instructional and tutorial sessions). Each video should be 5-7 minutes (please: no LONGER than 7 minutes!).

How to start thinking about it.
In your video you’ll be adapting or relating a fairy-tale type, paradigm, or set of motifs that you have encountered in the course to your own personal experience or to some aspect of modern life. The video may take a number of forms: theatrical/ cinematographic dramatization of a fairy tale (in whatever temporal and spatial dimension you like); a dramatized telling (incorporating visual material); a musical rendition (e.g., MTV-type video); a dramatized interview with one or more characters from a tale; a narration in images, etc. etc.! I’m open to and interested in other ideas, of course, but make sure to share them with me before you embark on the project.

How to frame your fairytale.
Approaches to “retelling” the tale or reconfiguring the motifs you choose may involve reversals of fairy-tale patterns or character types we have seen; sequels or prequels to familiar tale types; shifts in narration (e.g., from an objective 3rd-person narrator to a 1st-person narrator [one of the characters of the tale], or to an unreliable 3rd-person narrator); reframing the tale (e.g., changing its temporal and/or spatial coordinates); reinterpreting or zooming in on single episodes, elements, or characters of a tale.

The nitty gritty.
Throughout the process I will be distributing handouts to help you with the various phases of the project. To give you an idea of this process, these are the main steps:

  1. Choose your group, and brainstorm about possible ideas for your video.
  2. Create a proposal, and complete the treatment plan. (I’ll give you a form to help you.) Hand in a narrative summary of proposal/treatment (500 words).
  3. Showcase your ideas in a “pitch session” in which each group will have 5 minutes to present their proposal and then receive feedback from the rest of the class.
  4. Participate in 2 Imovie tutorials at Jones Media Center (during class hours), in which you’ll learn video-making techniques.
  5. Participate in 1 30-minute session in JMC before your group checks out a video camera.
  6. Put together a shot list (storyboard). This is optional. (Template provided.)
  7. Once footage is shot, participate in 1 or 2 editing sessions (depending on need) at JMC, with RWIT tutor.
  8. Complete video!
  9. Put together, as a class, pertinent criteria for evaluating the videos.
  10. Participate in a special showing of your videos.
  11. Write and hand in evaluations (both formal, based on class criteria, and less formal) (500 words).

Example of a Final Project

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Spanish 61

Course: Spanish 61 – Spanish Literature and Film: Filmic and Literary Modulations in Contemporary Spain

Instructor: Prof. Txetxu Aguado

I am sure my students will derive their project from the main topics covered in this course. These are: The Spanish Civil War (violence and its representation), tourism and emigration (travels, stereotypes about the other and their representations), Postmodernity (Pedro AlmodÛvar and his visual ideas about sexuality, homosexuality, traditional values, religion, etc.) and Identity and Terrorism (representation of the other/of difference) within a national culture.

I am also showing my students clips from other movies (classical movies besides the ones they are required to watch for this course) to make them aware and give them ideas about how to translate feelings, ideas, situations… into images. For example, one day we will watch the last scene from The Lady from Shanghai (Orson Wells 1948) with the purpose of showing them how the director portrayed the split personalities of the woman character in the movie.

Before having the iMovie workshop, I will give my students time to think about their projects so that hopefully the will have a draft-script by that time. I want them to take a scene from one of the movies or from one of the novels and to figure out how to make it into images of their own. Don’t worry, I will tone and narrow down their projects and first ideas. Let me give an example. In one of the movies, there is a scene where the fascist police comes to arrest a republican fighter. He is able to escape before the police arrives. The whole movie, its ideas and notions, it position, the point it is trying to make, is contained in the dialogue and images of this approximately 2 minute sequence. I am expecting something similar from my students.
Their group project will not exceed 5 minutes.

The students really enjoyed the project and they only wrote positive comments about it in their evaluations. All of them remarked that it has been a wonderful experience. From my point of view, I am convinced that through this hands-on activity they have become more aware of the ways images construct meaning and more sophisticated in analyzing a film.

Chinese 3

Course: Chinese 3
Instructor: Justin Rudelson
Assignment: simple sketch in Chinese

Each group of five students will be writing and performing a skit based on the vocabulary, scenarios and grammar structures of our text. The skits are to be filmed in a linear progression so that editing will not be extensive. I would like to make this as simple and even crude as possible, even if it means doing only one rehearsed cut per scene. In the past, these have been performed in class live, taped and then placed on the server. We would like to have the students perform and tape the skits themselves in appropriate locations.

Spanish 30

Course: Spanish 30: Introduction to Hispanic Studies. I. Middle Ages to 17th Century
Instructor: Prof. Noelia Cirnigliaro
Assignment: A Visual Essay

Why and what for we have final video project in Spanish 30.Introduction to Hispanic Studies. I. Middle Ages to 17th Century?
In understanding the historical myths that condition Early Modern Spanish and current Spanish imaginaries, we have studied historian Henry Kamen’s latest book Imagining Spain. Historical Myth and National Identity (2008). The myths discussed in his work and in our course are the following: “The myth of a Historical Nation”, “The Myth of an Empire”, “The Myth of a Christian Spain”, “The Myth of a Universal Language”, “The Myth of the Inquisition”, “The Myth of the Failed Monarchy” and “The Myth of Perpetual Decline”. We are studying clusters of texts in relation to one myth at a time. The purpose of the visual essay is that students understand even better, but also try out, test, and evaluate the pertinence to these historical myths (and, of course, of Henry Kamen’s assertions) in relation to a different text that we have not discussed in association with student’s chosen myth. For their final video projects, then, students will explore the connection between a core question about the culture of Spain and Latin America, then and now, and only one literary piece from Medieval, Early Modern Spain, or Colonial Latin America. All in all, these videos should work as a collective visual essay, with a hypothesis and a series of arguments and evidence (discussion of historical information, close readings of texts, analysis of images, maps, etc), a bibliography and a filmography.

Why a visual essay?
Many reasons.
First, because early modern literature and culture were absolutely visual. A video project can make that quality of literature and culture come to the fore in a very vivid way. All literary expressions, both oral and written, are in fact preeminently visual; they come alive in the mental images created in our brains through speech. We have even seen concrete examples of the “filmic” quality of literature, avant la lettre in this case, with the medieval Epic Poem “Cantar del Mio Cid”.

Second, evaluation and assessment should reflect the type of practice we have done throughout the term. Since this course privileges individual and collective oral discussion of texts and ideas, a group video project is a well suited evaluative instance, as opposed to a final written paper. We have also used visual components, such as documentaries and modern versions of literary texts to enliven our understanding Medieval and Early Modern Spain, Colonial Latin America and our own images about those cultures.

Third, an essay (visual or otherwise) that is pitched for an audience potentially larger and less specialized than the professor -who is correcting and grading it- allows students to work more consciously in achieving clarity, straightforwardness, and conciseness in their arguments. A sub-goal is that students will develop their skills in finding relevance when they evaluate the materials to be incorporated in the selection of references, etc. Working under time constrictions (5 to 7 minutes), description of contextual information, analysis of a specific concept, word, or passage, and narration of anecdotes can be worked into the argumentation only to illuminate the working hypothesis, not to fill up space.

Finally, collective work is inspiring, intellectually challenging, and can create affective and intellectual bonds for life. Literary texts such as those we read in this class can present a real challenge due to their linguistic abstruseness, their historical distance, and apparent lack of relevance in discussing issued at work in contemporary Spain and Latin America. Collective work can help overcome the difficulty of inhabiting the past. What might seem abstruse in the silent, private, and individual act of reading shall come alive and acquire new resonances in the collective dissection of the readings, over dark coffee and late night pizza.

Who will help?
Susan Simon (Academic Computing) and other professionals at the Baker-Berry Library and the Jones Media Center will provide technological instruction and guidance, especially with iMovie.
Miguel Valladares (Reference bibliographer- Romance Languages) will make very easy primary research at the library with his class on bibliographic and digital resources.
Jay Satterfield (Reference Bibliographer- Rauner Library) will flesh out the vitality of print culture in this period and the importance of book and manuscript images in the creation of Spanish myths.
And I, Noelia Cirnigliaro, as teacher of this course, will make myself very available (class and office hours) to provide detailed guidance at all stages of the production. I have already created guidelines and other documents such as check out lists, timelines, assignment description like this very document, and evaluation criteria and other handouts. Also, since the beginning of the term, Blackboard is filled with images, extra readings and internet links to databases, online libraries and educational webpages about the Medieval Iberia, the Spanish Early Modern Period and Colonial Latin America.

What to expect?
A lot of learning from :
* the materials I propose (literary and critical texts, plus Kamen)
* the materials you students will research on and talk about (images, texts, films, etc)
* the conversation with group mates
* the special classes with other teachers and technology professionals
* the practice with the editing program (iMovie)
* the conversations instructor and students I will hold in class, and office hours

and for the same reasons, an incredibly demanding semester but, hopefully, a lot of fun and a very rewarding outcome.

Example of Final Project

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Grantham – Writing 2-3

Course: Writing 5
Instructor: Prof. Shelby Grantham
Assignment: The Visual Essay

A 4 to 6 minute documentary film about some aspect of a Dartmouth culture that will introduce you to finding and using primary and secondary sources at the College and to the challenges and freedoms of composing with media other than the written word. The project itself does involve working with the little black squiggles, including a written proposal, interview questions, narrative voice-over, a rough storyboard, a voice-over script (if you use one), a pitch, a progress report, and a final evaluation. The project requires research and citing of sources when credits roll at the film’s end.

To produce the Visual Essay, you will be assigned to groups of three. Choosing your group’s topic involves positing some genuine question that puzzles your group about one of the cultures at Dartmouth, past or present. In conference, your group and I will distill from your question a manageable and mutually satisfying topic for you all to research. Using general library resources, special collections, interviews, and the archives of Dartmouth’s various serial publications (The daily Dartmouth, The Dartmouth Review, The Dartmouth Alumni Magazine, Vox, and others), you will probe your topic, looking not only for textual information but also for visual and audio resources. Your assignment is to create and then present a 4-6 minute multi-media documentary film that argues a position taken by your group on your topic.

You might, for instance, start with the question, “How has Dartmouth dealt with Native Americans?” You could then use special collections to study Dartmouth’s initial proposals to educate Native Americans, investigate old documents to explore how this mission changed over the years, and look into Native American books and journals to see what educational issues various native peoples here have considered important in the past and now. Reference librarians and scholarly search engines could lead you to articles about how others, native and non-native, view Dartmouth’s Native American Studies Program or Native Americans at Dartmouth. You could look up on Dartmouth’s web pages the credentials of faculty who teach Native American Studies, decide to ask one or two to talk with you briefly in hopes of refining your understanding of what you’ve learned, and videotape the talk (with permission gained beforehand, of course). The (and only then), when you have some serious information under your belt, you might talk with (“interview”) current Indian students to find out how each of them answers your question and why. Once you have all this information, you will be in a position to decide something about your topic, to take a position on it. That will guide you in looking for and choosing images and music and other audio effects to enhance the argument or claim you want to make about this topic. From the Orozco murals in Baker to the Native American collection at the Hood Museum, the Hop’s signing of indigenous artists, the archived speeches of Native American speakers, and the special collections images of the annual Powwow, Dartmouth offers many possibilities for both sound and vision.

Similarly, you could explore the culture of women (“co-education”) at Dartmouth. Or the homecoming ritual and what it represents. You might focus on “Greek” culture here, investigating recent discussions about eliminating it, or examining recent scandals within some of the house. You could even look at the architecture at Dartmouth – how is uses space, and what the space and the designs signify or suggest about the culture of those who chose the projects, the architects, the designs, the uses (White? Ivy League? Male? Trustee? Donor?). Interviews with Geography and Art History professors, talks with the College’s office of facilities planning and its development officers (who raise funds for buildings), combing the archives for published pictures of Dartmouth, chatting with the college photographer, listening to archival tapes of speakers on architecture, consulting indices of the Alumni Magazine for letters to the editor about buildings, and soliciting from students their responses to the college’s buildings could be artfully combined with video or stills of the campus sites and backgrounded with appropriate music from the Baker bells or Dartmouth singing groups (Glee Club, Gospel Choir, Aires, etc.) to produce a fascinating documentary arguing something meaningful about the architecture here.

Or you could ask a question about the role of student protest at Dartmouth. You could ask a question about the history of black/white relations at the College. You could investigate the culture of bisexuality at Dartmouth. You could learn something about anti-racist efforts at the College, or look into how affirmative action is set up here and how it is viewed by various College groups. You could ask why at this College, “Asian” seems not to include “South Asian.” You could probe the culture of the Ivy League president at Dartmouth. Endless possibilities.

The draft proposal you submit Friday, 10/6/06, should state your question and hypothesize how your group might investigate, suggesting what might be your focus and where you might look to illustrate your subject. Might you conduct interviews? With whom? What seem at this point like profitable sources of information or history? Will you need to film something on campus? What? Where might you locate still images? Might you use special collections? Which ones? Your proposal should also speculate as to your probable technology needs.

The Preparation: We begin by looking together on Wednesday and Friday at some short examples of multimedia composition and talking about how they are constructed as well as the soundness and the ethics of their arguments. We also meet for two or three sessions with reference librarians, one at Baker/Berry (Dartmouth’s main library), one or two in Rauner (Dartmouth’s special collections and archival library). These workshops will give you experience in using the libraries here to “play” with the resources they offer, to use them to form questions for further research, and to try your hand at locating some things.

Running Time: (including credits): 6 minutes maximum, 4 minutes minimum (NO EXCEPTIONS).
Images: 25 maximum
Text Length: (excluding credits): maximum of 50 discrete words.
Audio: Any kind (voiceover, song, music, sound effects). Remember the 6-minutes limit when you choose audio.
Video: 4 minutes maximum. (Use video advisedly. It doesn’t insure a better film or grade.)
Credit and Permissions: cite in the credits secondary sources and images or audio recording of others that you use or consult. Student need to credit everything and everyone. For educational use (such as showing to the class), you do not need to get written permission. BUT-if you post your film on a web site or screen it at a public (non-educational) event, you would have to get written permissions beforehand.
Clips from distributed movies: not allowed (though still images from them are allowed – but remember that transferring such material to digital form is difficult and not always successful).
Editing: Remember that editing footage takes four times as long as acquiring it.
Final Submission: Save as a Full Quality Quick-Time file and place it in the “Final Projects” folder on the server space provided.
Keep it: Simple.

Example of Final Project

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Gocsik – Writing 2-3

Course: Writing 3
Instructor: Prof. Karen Gocsik
Assignment: The Dartmouth Research/Documentary Project

I make this assignment – a short documentary film about some aspect of Dartmouth life and history – in the middle of Writing 2. Using general resources, special collections, interviews, and perhaps the archives of the Daily Dartmouth, students (in groups of three) research a topic of their choice, looking not only for textual information but also for visual and audio resources. They then produce a 5 – 7 minute multi-media composition/documentary film. They also compose, collaboratively, a paper on the same subject as the film. I subsequently engage them in conversation regarding the similarities and differences of composing with different media. What skills are universal? Portable? Genre-specific?

My aim is to introduce students to finding and using primary and secondary sources, and to familiarize them with the challenges of composing an argument with multiple media. The project itself requires considerable writing and rewriting, including the proposal, the interview questions, the narrative voice-over, and the final paper. The project also requires that students research well, present their research ethically, and cite their sources when credits roll at the film’s end.

Ongoing Work
I begin by introducing my students to examples of multi-media compositions, both professional documentaries and student films. We talk about how these films are constructed, considering the soundness and the ethics of their arguments.

We follow this with two sessions with a reference librarian in Rauner. For the first session, the Rauner librarian pulls documents, images, and artifacts from Dartmouth’s history – for instance, materials on student activism through the ages. Students are encouraged to play with the resources, to comment on what they’ve learned, and to form questions for further research. In the second session the librarian discusses the Rauner resources more thoroughly and offers instruction in doing research with primary sources.

The students then meet with their groups to determine a topic and a plan. They take this plan to the RWIT Center, where a tutor reviews the plan and makes suggestions about its focus and feasibility. Students then go to Jones Media Center to discuss technology options/needs. Finally, they create a proposal in which they are instructed to:

  • State your topic and the questions you intend to pursue
  • Offer a detailed plan regarding how, precisely, your group intends to explore these questions (For instance, do you intend to conduct interviews? With whom? Will you need to film something on campus? What? Do you intend to make use of special collections? Which ones?)
  • Provide a timeline for your project
  • List your technology needs
  • Raise any questions that you have regarding the process

Students write their proposals, then meet with me in office hours, to “pitch” their ideas and discuss their strategies.

Students meet several times amongst themselves to do research, to refine their plan, and to write their scripts. They must submit scripts and reports to me according to deadlines that I’ve outlined in the syllabus.

Finally, they begin shooting. They bring clips to an i-movie workshop, run by Susan Simon, who offers instruction in how to use this software. Students edit their films in Jones Media Center, with the support of the Jones Staff and, ideally, an RWIT tutor. They also invite me to Jones to take a look at their rough cuts. I offer my critique, and they continue editing.

We screen the films on a movie night in the last week of class. Students assess their peers’ work and defend their own in a Q&A following each film. I provide popcorn.

I assess both the product and the process of this project.

Because film is a public medium, I invite the entire class to screening nights. At the screenings the filmmakers are asked not only to present their own films but also to assess their peers’ work. Before the final screening – before students cut their films – I invite them to join me in constructing criteria for assessment. I ask them to consider global and technical issues, and to determine whether or not the argument was ethically made. I average the group assessment numbers to determine a grade for the film. Student filmmakers share this grade, regardless of their involvement in the film.

Whenever you have students work in groups, it’s a good idea to give them an opportunity to assess their classmates, and to assess themselves. I’ve therefore developed a series of questions that I ask students to complete as part of their group assessment. I use this assessment to determine a process grade, which I sometimes express as a letter grade and sometimes as a plus or minus. Students are awarded these grades as individuals, depending on their individual performances.

What I Hope to Achieve
This assignment accomplishes many things, in terms of research, critical thinking, composing, and so on.


  • Introduce students to the research process (in a way that is new to them and fully engaging)
  • Give students the opportunity to work with primary sources
  • Familiarize the students with Rauner resources
  • Expand students’ sense of viable source materials, to include audio and visual
  • Teach students how to evaluate, use, and cite these kinds of sources

Critical Thinking

  • Teach students how to read and to interrogate visual texts
  • Enable students to better analyze whether or not a visual text is “ethical”


  • Teach students how to structure arguments in new ways (documentary films do not typically have explicit thesis sentences; they are sometimes not structured linearly; they are often polyglossic; etc.).
  • Teach students to edit carefully, especially by heightening their awareness of transitions and connections between ideas within the piece.
  • Require students to write a group paper on the same topic, so that they can discover the similarities and differences in composing with different media

Additional Benefits

  • Build the class community (students work closely in small groups)
  • Familiarize students with Dartmouth culture and history
  • Expose students to Rauner Library, the RWIT Center, and Jones Media Center

Frequently Asked Questions

Why small groups?
I think students learn more from multimedia projects when they work collaboratively. First, film is a collaborative medium. But even more important, groups allow students to discuss each step of the composing process. Students have reported that they’ve argued for an hour over a single transition! This level of discussion doesn’t happen when students write papers. And it cannot happen if they work alone.

How much class time do I devote to this?
I devote four to six classes to this project: one or two to a discussion of visual arguments, two to Rauner, one or two to the i-movie workshop. Several of these classes are x-hours; four are run by colleagues. I spend out-of-class time with each group, especially when they pitch their ideas to me and when I view their rough cuts.

How much time do the students devote to this?
It depends. Students will spend several hours researching, shooting, and editing. Editing is, by far, the most time-consuming of all the processes. Students are often surprised by this; instructors need to remind students again and again that it takes a long time to “shape” their films. If you’re concerned about the amount of time this project requires, ask students to create their arguments from existing photos or video footage. This will keep them from spending considerable time on shooting.

What do I give up to accomplish this project?
Not much. This project proceeds not in place of, but alongside the other course assignments. We continue to read and discuss course materials as students work on their films. Instead of four books, I teach three; the film and group paper replace one paper – but this project, as designed, is far more demanding than a single paper.

What do students gain?
Students gain several things from this project:

  • Students’ visual literacy improves, as they sharpen their understanding of how visual texts are constructed.
  • Students learn to do research with primary sources, including archival sources and interviews.
  • Students practice collaborative composing as they conceptualize, research, shoot, and edit together.
  • Students develop a keener understanding of composition, learning how to create an argument without offering an explicit thesis; how to use multimedia resources to support an argument; how to create effective transitions between their ideas; and how to develop a visual “voice.”
  • Students consider the ethics of their visual arguments.
  • Students have fun collaborating together, a process that improves, incidentally, the community of the class.

Example of Final Project

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Boone – Writing 2-3

Course: Writing 2-3
Instructor: Prof. Stephanie Boone
Assignment: iStory, A Digital Composition

You will produce a digital composition, or film, based on your Homestory and/or the Place Essay (whole or in part)-pieces you composed in fall term, but which now you may revise for the sake of this assignment, and which makes a claim about yourself, or some issue of place and memory in your life.

While this film will be inspired by the personal and use material you produced in fall term, it should be constructed with the conventions of an academic argument in mind. Your composition should assert and support a claim about you, and should observe kindred matters of style and structure, such as transitions, unity, grammar, and mechanics. Yes, you will make the same sorts of rhetorical decisions for this film, as you would for a traditional paper. In pursuit of your claim, you will work with images and sound. You may indeed use written text in this film, as well. The paper is not forgotten, or subverted in this assignment; rather it achieves new dimensions. The geography of the traditional paper has changed. Argument can be visual.
A caveat: Though this assignment may ultimately “feel” useful to you personally inasmuch as it uses the personal as its primary source material, still you should construct a film that is appropriate for public consumption in this college classroom-your peers, tutor, and professor-and about which you can be comfortable “showing” it to your public audience, whether here or elsewhere, now or later. The assignment calls for an argument, not a confession. So, choose your material wisely. Make this an E3-rated film. Exercise discretion.

    The following restrictions apply to your film-no exceptions:

  • Length: 2 minutes minimum to 3 minutes maximum (running time includes any element of the film- audio or visual).
  • Visual: 1-10 images and 25 discrete words (excluding credits), maximum, You may not use any animation.
  • Audio: any kind of audio (voiceover, song, sound effects). Consider the 3-minute limit when you include audio.
  • Medium: use iMovie. You may use video in your iMovie, but you are limited to one minute of video, however you choose to use it (as a block or in discrete segments).

  • Use video advisedly. It does not insure a better film or grade.
  • Cite secondary sources and images or audio recordings of others that you use in making the film.
  • Be ethical.
  • Keep it simple.

To assist you in making your film, we will hold several workshops with a technology specialist that will address how to use images and audio in iMovie. You should consult Jones Media Center tech specialist when necessary, and to schedule equipment.

You should set about conceptualizing your film and collecting images and audio elements as soon as possible. Planning is critical to producing a successful film. To that end, you will complete the following steps in your filmmaking process:
Treatment Plan, * as long as the form allows, Level 4 Complete the “video treatment plan” that I will provide in class. You may get this template early in the term, if you would like to. In your plan, you will have to consider your audience, purpose, production schedule, visual content, audio, and structure. Use a working title for your film.

Storyboard, as long as it takes, Level 4 Complete the Storyboard template that I’ll provide in class. The sooner you develop your Storyboard, the better. As you make your film-

  • Consult the personnel in and schedule equipment in the Jones Media Center, or go to jones.media.center@dartmouth.edu
  • Schedule time with RWIT tutors at students.dartmouth.edu/rwit/ for extra tutoring.
  • Learn more about iMovie at www.apple.com/imovie
  • i/I/Movie: A Digital Composition, film and commentary, 3 minutes, Level 5

You will submit your film in DVD or CD form to the class and to your professor, for in-class screening. To your professor, you will submit your final treatment plan and storyboard, plus a one- to three page commentary on your filmmaking experience. In this commentary, address the problems you encountered, the solutions you found, the resources you used, and the after-thoughts you have about your process and product.

Response to iMovie Screenings, 2 pages, Level 5 Write a one-page essay in which you nominate a film as best film and post this nomination essay to our discussion board. Based on these essays the class will determine the Best Film and the Best Essay.

Example of a Final Project

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GERM.003: Intermediate German

Course: German 3: Intermediate German
Instructor: Prof. Christopher Schnader
Assignment: Digital Storytelling

Students will be creating a 2 -3 minute video about themselves with an audio track that uses German text they have written. Students will receive training in two 1 hour time slots. The first will be during class and the second during an x hour. Their projects will be due on Nov. 15. We will then forward each student’s partner a version of their partner’s video that has been stripped of audio. Students will have until Nov. 19 to submit a new text to accompany their partner’s video . On Nov. 20 students will practice reading these alternative scripts in class and learn vocabulary that may be unfamiliar. A screening of all videos will take place Nov. 21 in Jones Media Center. Each will first be presented with the partner’s alternative script being read by the author, and then screened in the original version with audio.

Example of Final Project

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Course: Arabic 3: First Year Courses in Arabic
Instructors: Prof. Diana Abouali and Prof. Lorice Kasbari
Assignment: Video Project in Arabic

The assignment is a short film (5-7 minutes) that the students will write/produce/act in Arabic. We will not be grading them on the technical quality of their project. It is more an attempt to get them interested and excited about Arabic, and to encourage their creativity with the language.

[local /wp-content/uploads/Arabic-ER.mov]