I am an early-to-mid-career academic practitioner and film and television specialist working within UK higher education, with a developing research profile focused on practice-based pedagogy, sustainable production, and inclusive technical education in screen media. I am currently employed as a Film & Television Studios Specialist Technician at the University of the Arts London (UAL), where I facilitate undergraduate and postgraduate teaching, studio-based learning, and curriculum delivery across film and television production courses.
My work sits at the intersection of creative practice, applied research, and higher-education pedagogy.

Academic and Research Context

Within my role at UAL, I contribute directly to teaching and learning by designing and delivering studio inductions, technical workshops, and production support across multi-camera television studios, cinematography, lighting, and live production environments. I work closely with other academic staff to translate learning outcomes into practical, industry-relevant studio experiences, supporting students across diverse educational, cultural, and socioeconomic backgrounds.

Alongside this, I am developing a practice-based research focus examining how sustainable production materials and workflows—such as recyclable set-building systems and environmentally responsible studio practices—impact student learning outcomes, technical competence, and production management skills in film and television education. This research addresses a growing gap in higher-education screen studies, where sustainability is often discussed theoretically but less frequently embedded into hands-on technical pedagogy.

My work aligns with current UK priorities around environmental sustainability, inclusive education, and applied research, and reflects the increasing recognition of practice-as-research within creative disciplines

I am an experienced media practitioner with demonstrated work experience in the film and broadcast media industry. Skilled in video, film, Editing, and Journalism.

Session/artefact to be observed/reviewed: Introduction to Mobile Journalism

Size of student group: 7-15

Observer: Carys Kennedy

Observee: Samuel Adigun

 

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session/artefact within the curriculum?

Introduction to Mobile Journalism

How long have you been working with this group and in what capacity?

2 years as specialist technician

What are the intended or expected learning outcomes?

To understand the capacities and best practices for shooting factual contents using only a mobile device.

What are the anticipated outputs (anything students will make/do)?

To shoot on a later date, a ‘VT’ to be later used in a live studio session

Are there potential difficulties or specific areas of concern?

How will students be informed of the observation/review?

What would you particularly like feedback on?

How will feedback be exchanged?

Part Two

Observer to note down observations, suggestions and questions:

Thank you, Sam, for talking me through your workshop Introduction to Mobile Journalism. You let me know that you deliver this to groups of 7-15 students, and usually have around 45 minutes to deliver this.

You have designed the session knowing that some students may be initially resistant to mobile journalism, and wondering why they aren’t using a ‘proper’ camera. As such, you start with an image of a journalist filming the Mayor of London with a phone, and start a discussion about this. You said that you are “selling the acceptability” of phone journalism, so sharing the picture you took of a Sky News reporter using their phone is a powerful starter.

You share a short video that you filmed, with students, letting them know it made it to national news. You ask them to watch and identify the phone shots and the camera shots. Students most commonly notice differences in contrast and colour, but that is not a result of the camera. You let them know that short film was almost entirely show using a phone; you sad “I see them drawn in – they start to ask questions [about the kit]”.

You introduce the ‘tools of the trade’, and how to use them effectively. This incorporates hands-on/actively learning elements, when you show them the microphone, gimble and tripod. You provide tips (e.g. that stability distinguishes a professional shot from an amateur shot), and refer back to images used on previous slides to exemplify this.

You talked about the slide where you show them different perspectives and framing, and linked this to the broader curriculum. You acknowledge that you don’t always know what they have been taught by academic colleagues, and don’t want to contradict this learning. You manage this by asking students what they already know, what they have already learned, and what they can you them about – in this case – perspectives and framing. You said “They take the lead, and I try to regulate this”.

You ask students to share which phones they have; you commented that in many sessions, all students have iPhones. As such, the settings you demonstrate are iPhones. You acknowledge that for International students, their phones are likely set to NTSC, so you take this as an opportunity to tell them the difference between NTSC and PAL. You talked me through other camera settings, lighting tups and audio esentials which you share with students. Finally, you introduce the students to the Rule of Five shots, revisiting the ‘hot air balloon video’ and asking them to identify these shots.

You anticipated a question I had about sharing slides; you said that you share the slides, so students have them to refer back to. This is positive inclusive practice: it allows students to listen without worrying about taking notes, and gives them something to refer back to.

In our discussion, we talked more about your experience of teaching students when you are not part of the academic team. You acknowledged that not always knowing what students have been taught in different parts of the role can be a barrier; you manage this by taking a student-led approach, inviting them to share what they have learned. You noted that these are parallels with the distinction between technical and editorial roles, which you are experienced in managing; you also shared that this was a factor which prompted you to undertake your MA in Journalism.

I asked what other barriers you encounter in this workshop, and you reiterated that students can be resistant to mobile journalism. You noted, though, that “every session, I seem them shift ground’. I asked how students respond to your professional experience, as I imagine that this really supports with their interest and engagement; you agreed that seeing your practice is an important part of getting their buy-in for mobile journalism. I noted that you structure the session really well in this respect, saving the technical elements for later, once students are already more excited by the potentials of mobile journalism. You also build in time at the start of the session to explore the value and benefits; by exploring the ‘why’, students are more likely to be interested in developing this area of their practice.

I noted that 45 minutes is a short amount of time for such great content, and that it could potentially be a longer session. You explained that the time is limited, but sometimes the academic team support the session running longer. You also explained that you try to get a sense of the students’ priorities and what they want to learn, then foreground those elements in the session. This sounds like really great and responsive practice.

When I asked if there was anything else you wanted to discuss, you articulated the barriers of having a diverse group of students, who often come from a range of language backgrounds; you are concerned about whether they can always hear and understand. You felt that, with more time in the session, this would be less of an issue, as you could check-in with students more. You noted that you ensure you speak slowly, and are receptive to students taking recordings or using translation tools. I think the clarity of your slides, and the fact that these are shared with students, is also really valuable. We talked briefly about other strategies you could use to open-up student questions (e.g. think-pair-share, post-it notes, Padlet). You made the connection between the reading Embracing the Silence and your practice, and are keen to think more about this area of your practice.

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

Thanks Carys. Your observation is quite constructive, educative also encouraging. 

You have taken your time to give a thorough account of every bit of the session. This makes me feel more confident that my teaching is coherent and coming across to students well. 

It has many times crossed my mind to ask myself if the learning outcome of the workshop was achieved since getting a feedback from students could at times be a big task. Your feedback has corrected this impression and I have seen my teaching and its impact from another perspective.

I however look forward to future engagement where you can also tell me what didn’t work well and your suggestion on what I can do better.

All points taken and well appreciated. 

Thank you.

Record of Observation or Review of Teaching Practice         

 

Session/artefact to be observed/reviewed:

Size of student group:

Observer: Billie Vine

Observee:Samuel Adigun

 

Note: This record is solely for exchanging developmental feedback between colleagues. Its reflective aspect informs PgCert and Fellowship assessment, but it is not an official evaluation of teaching and is not intended for other internal or legal applications such as probation or disciplinary action.

Part One
Observee to complete in brief and send to observer prior to the observation or review:

What is the context of this session/artefact within the curriculum?

Introduction to Mobile Journalism

How long have you been working with this group and in what capacity?

2 years as specialist technician

What are the intended or expected learning outcomes?

To understand the capacities and best practices for shooting factual contents using only a mobile device.

What are the anticipated outputs (anything students will make/do)?

To shoot on a later date, a ‘VT’ to be later used in a live studio session

Are there potential difficulties or specific areas of concern?

How will students be informed of the observation/review?

What would you particularly like feedback on?

How will feedback be exchanged?

Part Two

Observer to note down observations, suggestions and questions:

This lesson will effectively challenge students’ assumptions about the need for high-end and expensive devices for professional journalism. You have anticipated that your students might be disappointed to use phones over expensive equipment and you have pre-emptively addressed this by highlighting the prevalence of mobile phones in professional contexts such as modern journalism practices. 

You demonstrate this with original material which is your own. This will show them that you have first-hand experience in this field and will hold their attention. It will also link the subject to industry practices more directly, and show them how mobile phones can be used professionally. You clearly state the objectives at the beginning of the class letting students know exactly what they will be doing. This is always helpful and I think it leads to greater understanding and participation (this is something that I want to make sure I do as sometimes I forget).

You keep them engaged by asking them to feedback on which shots they think are captured using a mobile phone which breaks up the pace of the class.

I think there might be some slides missing in the set you gave me as I remember seeing some pages on specifically settings for using a mobile phone which would be very useful for students and this class as this may differ from using a film camera.

The images you use clearly show the subject you are discussing, but some of them seem a little generic and I wonder if there is an opportunity to use some of your own images (screen grabs) as you have got some really nice examples of you own work in there which feels a lot more engaging and would help to personalise the lesson. I think this is especially true of the basics of framing slides, which is very good but could perhaps be enhanced with different images, the lighting and exposure slide (would you be able to find stills from your mobile journalism?), and the rule of 5 shots slide.

Reflecting on this makes me realise this is something that I can implement into my own slides as well (as I often use images from google) as I think it makes the class more personalised and engaging.

Perhaps putting a summary at the end will help tie it all together and also details of the task they are going to be asked to do so that it is clear for them.

All in all this looks like a really engaging and hands on topic and is something that will be valuable to students learning journey!

Part Three

Observee to reflect on the observer’s comments and describe how they will act on the feedback exchanged:

Thanks Billie for taking time to give the constructive feedbacks. 

I am particularly happy that you have asked me to come share this teaching with your students sometimes later.

Learning Outcome

I agree with you that sharing the learning outcome from the beginning and keeping abreast of it is such an effective way to maximise the available short time for the teaching. I often have the tendencies to keep drawing from my ten years experience on the field which usually lead to ineffective time management and consequently not being able to do justice to all that was set out to be done within the session. 

Misen Slides

Your attention to details is quite amazing as you have noticed that there were some misen slides from the slides I handed out to you ahead of the session.

I did a last minute adjustment based on observation from my previous sessions that it will be nice to have the screenshot of the appropriate settings included in the slides. This will help the students in a future referencing. 

I will resend to you the new presentation and ensure that the updated document is shared with students in every session.

Generic Images

You have advised that I use realistic images from my portfolio rather than the stock images for demonstrations and explanation. I agree with you and will effect the changes in subsequent workshops. 

Call to Action

You have advised that I round up the session with a summary a specific call to action on the next steps of the practical session. This is quite valuable and it is well noted.

Microteaching – Audience Psychology

Teaching Plan

		Duration
1	Welcoming and starting the teaching	1 minutes
	Quick Ice breaker/Sampling participants knowledge on the topic	2 minutes
	Learning outcome	2 minutes
	Intro	2 minutes
	First task/engagement	3 minutes
	Discussing the first task	4 minutes
	Second task/engagement	5 minutes
	Analysing the outcome of the second task	5 minutes
	Conclusion	2 minutes
	Feedback	10 minutes

The micro-teaching was one of the most interesting parts of the TPP unit for me.

I taught on audience psychology from the perspective of a man called Kuleshov.

It was a small group of 5 consisting of 4 other PGCert students and 1 tutor.

Quick Ice breaker/Sampling participants knowledge on the topic

I started by interacting with the participants and asking them if they had ever heard of the Kuleshov effect before. It turned out that only one of the four people listening to me had vague knowledge of what I wanted to talk about.

To some extent, this is an advantage, likewise, it could be a disadvantage. It will be an advantage in the sense that the participants have a fresh mind on the subject matter, and I have the task of explaining it to them with little or no opposing perspectives that can throw me off balance during the teaching. The disadvantage, on the other hand, is that I must be as clear as possible and might struggle to get the right engagement from participants since they are not familiar with the topic.

Learning outcome

I went ahead to share the learning outcome, which is as follows:

• Understand basic audience psychology based on the “Kuleshov Effect”.
• Identify the basic concepts of shot sequencing, juxtaposition, and emotional impact.

Intro

It was time to briefly and quickly introduce the “Kuleshov Effect”. I introduced it as follows:

“Lev Kuleshov, a Soviet filmmaker, conducted an experiment in the early 20th century. It involved creating a short film sequence using the same shot of an actor’s neutral face combined with different images or scenes. The audience, when shown the series of shots, interpreted the actor’s expression differently based on the context provided by the preceding or succeeding footage.”

First task/engagement

The first task/engagement was to observe a headshot and describe the mood the man in the shot

Below is the response as described on a white board. The image is on the left, while the participants’ responses are on the right.

Discussing the first task

We had a quick discussion with everyone, talking about what they thought the mood of the man in the head shot was.

Second task/engagement

The second task/engagement was to add a second image from a pool of AI generated images to the first image, then, construct a new meaning to the mood when observed together in sequence with the second image.

Below is the image pool.

Analysing the outcome of the second task.

The participants returned to the main session with different perceptions of the man’s mood or feelings.

Below is a the response of the participants after being exposed to a supplementary image.

Conclusion

This experiment demonstrated the powerful impact of film editing on audience perception and emotions. It highlighted that the meaning derived from a shot is not only influenced by the content of that specific shot but also by its juxtaposition with other shots

Feedback

The feedback session was quite constructive. Below are some of the feedback on Padlet:

• The slides were simple and clear – was there a reference/citation for Kuleshov Effect in case participants want to read more?
• Great full circle moment to start with and return to the learning outcome. A feasible activity/well planned in the time available, although conclusions were short.
• Use of a whiteboard of a tool was appropriate and well-used in the session. Did all participants know how to use whiteboard from the start? Do you need to fold in introducing the tool to the session?
• Clear relationship between theory and the practical exercise and the use of the AI image(s) as the object(s).
• The workshop enabled different interpretations of the content/object (s), eliciting different empathetic responses. You were open and inviting to everyone’s responses though often spoke to fill the quiet time – how does it feel to sit in the pauses and silence?
• You came across with enthusiasm and verve in the session – well done Samuel!

Response To Feedback

• Reference/Citation for Kuleshove Effect

Kuleshove effect is one of the theories thought in film studies. I will have to factor 

in the fact that more than half of my students have not been to film school and have probably studied something else in college which can make them clueless about Film theories. 

Going forward, I will signpost the students to helpful resources on the topic at hand. This can be in form of ‘Pre-Session’ or Post-Session reading task.

• Short Conclusion
  • Great full circle moment to start with and return to the learning outcome. A feasible activity/well planned in the time available, although conclusions were short.

This is well observed. I rushed the conclusion because I was already pressed for time. I will going forward try to improve on time management when teaching and also try not to pack too much in a session with short duration.

• Use of Whiteboard
  • Use of a whiteboard of a tool was appropriate and well-used in the session. Did all participants know how to use whiteboard from the start? Do you need to fold in introducing the tool to the session?

During the session, I also noticed that some people were not as fast to respond on the whiteboard as others despite frequent use of whiteboard across the university.

I will be more intentional with doing a quick intro at the beginning and pay attention to supporting anyone struggling with navigating the task.

• The Silent Moments
  • “The workshop enabled different interpretations of the content/object (s), eliciting different empathetic responses. You were open and inviting to everyone’s responses though often spoke to fill the quiet time – how does it feel to sit in the pauses and silence?”

Hmmmn! True that as interactive as I tried to make the session, some participants will still be quiet and not participate. I previously perceive the silence to mean I’m not doing a good job at teaching or the learning outcome is not being achieved due to the presence of some introverted participants.

My perspective has however changed based one of the pre session readings on ‘Embrasing the silence”.

In the journal, Harris, K (2022)  highlights the necessity to rethink approaches based on online learning encounters, underscoring the significance of accommodating learning styles and recognizing the role of silence, in enhancing the educational experience.

I now appreciate silence and contemplation as essential components of the learning journey.

• AI Images
  • “I really enjoyed it. It’s really important to get students to do the activity…it gets the activity to resonate further. I’d perhaps not use an AI image. It would be even more effective if you use a stock image or real photo. The actual activity was really effective.” – Billie

Thank you for pointing this out and letting me know you preference. I will consider a blend of AI generated images and real images in the future to take care of participants preferences. Just that AI is taking the creative industry by storm and I am trying to flow along. I might not have done a good job at creating those images but a well created AI image speaks volume and very resourceful.

I will learn and research more on AI generated images and learn how to use it in a better way to support my teaching.

REFERENCE

Harris, K. (2022) ‘Embracing the silence: introverted learning and the online classroom’, Spark: UAL Creative Teaching and Learning Journal [Preprint]. 

Contextual Background

When it comes to recognizing and addressing the diverse needs of students, working as a technician specializing in film and television to assist academic educators in course delivery presents a challenge and some opportunities.

While my role as a technician traditionally focuses on support, it involves some aspects of teaching due to the changing landscape of higher education that prioritizes practical skills and knowledge.

Evaluation

I currently make conscious efforts to consider the various learning styles, backgrounds and experiences that students bring to the classroom or studio in order to understand their needs. I am also aware that students often have varying levels of familiarity with production equipment, software, or techniques in film and television. Some students thrive through hands on learning experiences, while others prefer learning through observation or detailed explanations.

Going Forward

The composition of film and television students that I currently support is so diverse to the extent that extra effort is required to be sure learning outcome is achieved and no one is left out. I will be deliberate in identifying and acknowledging the students’ diverse needs in order to effectively support them

 Below are some of the strategies:

1. Providing multiple avenues for engaging with the material to accommodate various learning styles, such as visual, auditory and kinesthetic preferences.

2. Technology Inclusivity: This will ensure access to technology for all students and offer guidance to those less familiar with the tools.

3. Integrating perspectives into course content to reflect the student’s diversity and audience.

4. Collaborative Learning; Encouraging teamwork among students in order to foster peer to peer assistance and learning by tapping into the groups skill sets. As observed, some of the students have similar cultural and academic backgrounds; sharing ideas of the course content and peer activity will definitely help.

5. Feedback Mechanisms; Establishing feedback channels will allow us to adapt our  teaching methods continuously to meet the evolving needs of the cohort.

Enhancing Access to Technology

Tech Workshops; Hosting workshops on tools and software for students requiring extra assistance can help improve their technological proficiency.

Resource Library;

Developing a collection of guides and materials that will enable students to enhance their technical skills at their own pace. This has been found helpful especially online resources that can be translated to different languages in which some of the students can better relate with.

Inclusive Curriculum;

Since I am not directly involved in crafting course contents, I can suggest to the academic to further accommodate contents that explore filmmakers’ cultural movements and storytelling methods from diverse backgrounds in order to aid and foster inclusivity.

Contextual Background

Technical education, such as film and television production often faces numerous challenges in terms of planning and teaching for effective learning.

This case study will consider, the challenges of rapid advancement in technology, which often necessitate constant updates of curriculum to include new software, equipment, and filmmaking methods while taking advantage of bringing about creative possibilities.

Evaluation

My current approach involves suggesting constant reviews of the curriculum and integrating tutorials on current industry software and hardware into the coursework.

We have also updated the current studio cameras to a higher resolution  6K Blackmagic URSA Broadcast G2. While this helps keep the program up to date, it struggles to match the pace of industry advancements resulting in gaps in students’ readiness for emerging technology trends.

We have also adopted the use of VECTAR Sets which offers a set design solution that utilizes paper based boards to create sets. This engineered paper board boasts a strength comparable to MDF or chipboard but is significantly lighter in weight. It can undergo painting and printing and when it reaches the end of its life cycle it can be fully recycled.  

This developing technology ensures that the sets maintain the same level of stability, strength and authenticity as traditional sets. The main noticeable difference lies in the efficiency and ease of installation . The technical staff and the students will no longer have to worry about back injuries, from moving heavy sets.

Going Forward

To improve our teaching effectiveness amidst changes, we have suggested to course leaders to take a more dynamic approach to curriculum development. This includes but not limited to creating a committee that connects faculty with industry experts to ensure real time industry relevance. This offers development opportunities for faculty to learn about and incorporate new technologies into their teaching.

In order to take advantage of the new cameras and sets, we will be adopting a project based learning model that focuses on hands on experience with state of the art technology. This will help the students to be familiar with the learning tools.

Additionally, we aim to bring in alumni and professionals from the industry for guest lectures and workshops to give students insights into practices and future directions. This will make up for whatever knowledge gaps that exist in the current support we offer to students.

Staff development is a major step in the right direction that we will explore as facilitators. Since we can’t give what we don’t have, It therefore will be very necessary to keep abreast the industry technological advancement in order to take advantage of it in effectively teaching future filmmakers.

Reflection

These strategies have started showing promise by increasing student engagement and receiving feedback regarding their preparedness for challenges, in the industry. Nevertheless obstacles, like funds for acquiring software and equipment as well as the time needed for teachers to adjust to emerging technologies have been recognized. These situations emphasize the significance of adaptability, teamwork and a dedication to learning and adjustment.

Looking back; This transition towards a curriculum that’s more flexible and connected with industry will have an impact on how we approach teaching in the future. It emphasizes the necessity for educators to continue learning throughout their lives and create a setting that’s both receptive and forward thinking in response, to technological advancements.

Contextual Background

Film and television production is a multidisciplinary field of study that offers routes such as cinematography, sound design, set design, producing, directing, post-production, digital effects, and many more. The students come from backgrounds with varying levels of knowledge and career objectives. Working with a generic learning outcome for this diverse group of people with varying expectations makes assessment and feedback quit tasking.

Evaluation

My current role as a specialist technician does not directly require that I do assessments; however, to support the students effectively, we use a mix of assessment methods, including feedback through project drafts and peer reviews. Summative assessments like projects assess the students overall understanding and skills. We also encourage self-assessment to help them reflect on their learning progress.

These methods engage students in their learning journey. Help them grasp the material better. However, challenges persist in providing helpful feedback for diverse student groups, with unique needs.

The ongoing challenge lies in finding the balance, between the aspects of creative work achievement and the objective assessment criteria.

Going Forward

Looking ahead I’ve drawn inspiration from approaches to improve learning and feedback in this field. Peer learning and joint projects can create a learning environment, enabling students to gain insights from each other’s perspectives and experiences. This does not only help in honing skills but also in developing essential soft skills like communication and teamwork, which are vital in the film and television sector.

Utilising technology driven tools such as virtual reality (VR) for pre-visualization or online platforms for collaborative editing can offer hands on practice in a controlled setting. By incorporating these tools, diverse learning styles can be accommodated, making complex concepts more understandable.

Moreover, incorporating industry project briefs and hosting guest lectures by professionals can bridge the gap between training and industry requirements. This exposure allows students to gain insights into their career paths and adds relevance to their learning journey.

Initial trials with these methods have shown outcomes. For example, collaborative projects have boosted student engagement. Nurtured a learning community. Nevertheless, addressing hurdles and ensuring access, to technology remain challenges that need attention.

Looking back on these moments, it’s evident that taking an approach to teaching, evaluation, and feedback is crucial to meeting the requirements of students in film and television production education. Regularly assessing the impact of these methods and being open to adjusting and integrating concepts are key to improving the journey and preparing students, for prosperous careers in the field.

Object based learning is a teaching method that focuses on using physical objects or relics to enhance the learning process. Instead of solely relying on textbooks, lectures or digital materials, object based learning encourages students to interact with tangible objects to deepen their understanding of a specific topic.

Key aspects of object-based learning include:

1. Interactive Learning: Students actively engage with and explore objects, enabling them to connect with the subject matter in a memorable and and relatable manner.

• Engagement of Senses: Object based learning often incorporates senses like touch, sight and sometimes even smell or taste. This multisensory approach can enrich the learning journey.

• Critical Thinking Development: Handling objects can prompt thinking abilities as students assess and interpret the significance of the artifacts in relation to their studies.

• Contextual Understanding: Objects are frequently presented within their cultural or scientific context. This contextualization aids students in linking knowledge with applications.

• Cross Disciplinary Application: Object based education can be implemented across fields such as history, anthropology, science and art.
• It promotes a mix of subjects, in education.

Object based learning is often linked to museums and galleries as they often showcase various artifacts and providing students with guided learning opportunities.

Object based learning can involve activities such, as analysing artifacts, studying specimens, appreciating artwork or using scientific models. This method is known to enhance comprehension of ideas and promote hands on engagement in the learning journey.

I will consider using OBL in my teaching practice as it is quite instrumental to creative learning.

Teaching film and television production through object based learning can involve incorporating hands on experiences with equipment related to the field. 

I am looking forward to creatively adapting Object-based learning to teach film and television production by incorporating physical objects and hands-on experiences related to the field. Here are some ideas I hoping to use OBL:

Exploring Equipment;

• I will bring in film and television production gear like cameras, lighting kits, microphones etc,
• Let students interact with the equipment to understand its purpose and how it contributes to making films.

• Take a look at historical evolution of filmmaking by showcasing and exploring the old equipments and technogy while comparing it with modern tools and workflow

Analyzing Scripts and Storyboarding;

• Looking at providing scripts and storyboards from old notable productions for analysis.
• Have students craft their storyboards using physical materials like paper, markers and small props to plan scenes before filming.

• Trip to location
• I will recommend planning a trip to explore a filming location or studio.
• Discuss the significance of ‘setting’ in storytelling and film creation allowing students to investigate the spaces where filmmaking occurs.

This journal is a great read for me. Harris, K (2022) delves into how the shift to online learning during the pandemic has reshaped teaching and learning dynamics in order to explore the impact of online learning on introverted students.

The article discusses the focus on involvement in physical classrooms and how this could be detrimental, especially for introverted learners. In online environment, students’ visibility and participation undergo a transformation, posing challenges while also opening up possibilities for an inclusive educational approach that values moments of quiet contemplation and introspection.

Harris, K (2022) believes there has been a major in change in classroom Interactions. The move to online learning during the Covid-19 Pandemic has disrupted the previously established power structures and expectations around participation. This consequently prompted a re-evaluation of what it means to be engaged in an academic setting.

The article also recognises ‘lurking’ (observing without participation) as a practice in online communities, suggesting that silent engagement should not be stigmatised in educational contexts.

The belief that pressuring students to participate leads to better learning outcomes was criticised, arguing that it may impede engagement for those who require time for reflection.

The distinction between passive and active learning is being questioned, proposing that periods of silence and contemplation could signify heightened intellectual involvement.

The article also views the classroom, as a setting that has the potential to cultivate quietness, easing stress and enabling profound contemplation.

In teaching Film and television, silence can easily be termed as non participation which often make me uneasy as a techer. I now agree as suggested by Harris, K. (2022), that quietness can be a learning aid as embracing silence and promoting reflection can result in an inclusive and efficient learning atmosphere. It can ease the burden on reserved students fostering a climate of listening and comprehension.

Lessons learned from education could impact approaches in classrooms prompting teachers to appreciate silence and contemplation as essential components of the learning journey.

Going forward, my key focus is the necessity to rethink approaches based on online learning encounters, underscoring the significance of accommodating learning styles and recognizing the role of silence, in enhancing the educational experience.

REFERENCE

Harris, K. (2022) ‘Embracing the silence: introverted learning and the online classroom’, Spark: UAL Creative Teaching and Learning Journal [Preprint].

(Sams, 2016) as presented in the “Spark: UAL Creative Teaching and Learning Journal,” investigates the multifaceted roles of art and design technicians generally in higher education and specifically within the University of the Arts London (UAL).

By employing a mixed methods approach that combined an online survey with a more qualitative, participatory “photovoice” methodology, the survey provides a nuanced portrait of how technicians view their contributions to the academic environment.

This is a reflection that looks at key insights from the study, highlighting the complex identities and essential roles of technicians as educators, supporters, and practitioners within the art and design higher education landscape.

(Sams, 2016) thoroughly examines the roles and perspectives of art and design technicians in education, specifically focusing on their diverse contributions within the University of the Arts London (UAL).

The study suggested that technicians perceive themselves not just as support staff but also as resource persons with diverse responsibilities beyond assistance. As educators, artists, and skilled professionals in their respective fields, they actively participate in both traditional and virtual learning settings.

The research identifies three functions of technicians: assisting teaching through their technical knowledge, aiding in creating conducive learning environments, and directly instructing students through hands-on lessons and guidance.

Most technicians are found to be artistic and have a professional identity as they pursue their endeavours outside their university duties, which enhances their teaching and support roles. However, there seems to be a lack of acknowledgment and appreciation for this commitment by the institution.

However, despite playing roles in students’ education and academic processes, technicians feel undervalued and lack support. They express a desire for opportunities for growth as well as recognition.

The research emphasises the role that technicians play in educating students, recognising their ability to offer expertise innovation and maintain safe and sustainable creative processes.

The study emphasises the importance for universities to reassess and improve the support and acknowledgment of technicians by recognising their role in the creative spheres.

References

Sams, C. (2016) ‘How do art and design technicians conceive of their role in higher education?’, Spark: UAL Creative Teaching and Learning Journal [Preprint].