CIU 211 Teacher's Guide 15T2

CIU 211
CULTURAL
PERSPECTIVES
TEACHERS GUIDE
DR JODIE TAYLOR
CIU 211 NMC
j.taylor@sae.edu
TABLE OF CONTENTS
MODULE OVERVIEW
Teaching Team
Aims
Learning Outcomes
For Faculty Developing & Delivering Content
WHAT IS THE DIFFERENCE BETWEEN THE NATIONAL MODULE COORDINATOR (NMC) AND THE LOCAL MODULE COORDINATOR (LMC)?
WHAT THINGS DO I NEED TO ACCOUNT FOR WHEN DEVELOPING CONTENT FOR ONLINE?
WHAT TECHNIQUES CAN I USE IN CLASS TIME TO GET STUDENTS TO ENGAGE WITH THE CONTENT?
WHAT FOLLOW-UP TASKS SHOULD I SET STUDENTS FOR THEIR OUT OF CLASS TIME?
Logistics & Implementation

HOW DO I TIMETABLE MODULES WITH A NATIONAL MODULE COORDINATOR?
HOW DO I STAFF THESE MODULES?
WHAT CLASS RESOURCES ARE REQUIRED TO RUN THESE MODULES?
DO I REQUIRE A LOCAL MODULE COORDINATOR?
WHAT TIME ALLOCATION DO I GIVE THE LOCAL MODULE COORDINATOR.
HOW DOES THE INTRODUCTION OF NATIONAL MODULE COORDINATORS CHANGE DEMARCATION OF FACULTY ROLES?
HOW DO LOCAL CAMPUS LECTURING STAFF RAISE CONCERNS AND CURRICULUM DESIGN ISSUES
I HAVE AN NMC AT MY CAMPUS, WHAT CAN I DO TO SUPPORT THEM?
LMC/NMC MEETINGS AND FREQUENCY
Curriculum quick view

A flexible approach to teaching this unit
ASSESSMENT OVERVIEW
211.1 Dialectical inquiry
211.1 Dialectic inquiry rubric
211.2 Interdisciplinary creative project
211.2 Interdisciplinary creative project rubric
211.3 Critical evaluation and self-reflection on the creative project
211.3 Critical evaluation and self-reflection of the creative project rubric
Marking with Rubrics
Moderation
Assessment practices
Assisting students with special needs
PURPOSE OF ALTERNATIVE ASSESSMENT OPTIONS
ASSISTING STUDENTS WITH DYSLEXIA
ASSISTING STUDENTS WITH AUTISM SPECTRUM DISORDER (ASD) AND SOCIAL ANXIETY
LECTURES AND TUTORIALS
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Blended learning learn at your own pace

The flipped classroom get the most out of your learning experience
Blending and flipping in CIU 211
Lecture Topics
Dubai Variations to Lecture Topics
CIU Special Blend - STUDENT FAQs
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ARE THERE FACE-TO-FACE LECTURES FOR THIS MODULE?

HOW MUCH TIME DOES THE MODULE TAKE?
HOW DOES THE ONLINE COMPONENT RELATE TO WHAT I DO IN MY TUTORIALS?
HOW DO I GET THE MOST OUT OF THE ONLINE COMPONENTS?
HOW DO I COLLABORATE WITH MY PEERS & TUTOR?
HOW TO POST IDEAS/RESPONSES ONLINE USING MOODLE
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CONTENT PROVIDED TO LECTURERS AND TUTORS

Where do I find the online lecture?
HOW DO I EMBED THE ONLINE LECTURES INTO CAMPUS ONLINE?
Creative Summary Tasks

Reading list and textual resources
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DUBAI VARIATIONS TO READINGS

EBOOKS AND EBRARY
FREE COURSEWORK EBOOKS FOR LECTURERS, TUTORS AND STUDENTS
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Resources on Google Drive
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HOW DO I USE PINTEREST?

PINTEREST IN THE CLASSROOM
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Other ways to curate

Multimodal teaching and digital curatorship
Visual content and image libraries (free to use with attribution)
Resources on YouTube
CIU 211 Twitter Feed
APPENDIX
Storify Lecture Embed Codes for weeks 1-12
Creative Summary Task Embed Codes
Direct links to content for embedding into campus online
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MODULE OVERVIEW
Teaching Team
National Module Coordinator
Dr Jodie Taylor j.taylor@sae.edu Brisbane
Local Module Coordinators
Byron
Sydney
Melbourne
Perth
Perth
Dr Gert Gast
g.gast@sae.edu
Mr Adam Ho
a.ho@sae.edu
Dr Ian Dixon
i.dixon@sae.edu
Mr Brett Cullen b.cullen@sae.edu
Ms Edna Zhang e.zhang@sae.edu
Aims
Media and culture are not simply entertainment, but something that affects the real world, our
everyday lives and our worldviews. As such, we will not ask whether media accurately reflect the real
world but instead ask how media shape, reinforce, and challenge the current power structures that
govern our lives, opinions and futures.
This unit takes a critical theory approach to analysing media and culture. In this unit students will
explore critical cultural theories, popular cultural aesthetics, modalities of consumption, cultural
institutions and systems of classification that inform creative media practices. Drawing on a range of
creative media texts and analytical frameworks, the unit encourages students to develop ways of
thinking about media and culture that demonstrate a broad awareness of aesthetic principles and
stylistic trends; subjectivity, agency, ethics and relations of power; contexts, disciplines and discursive
formations.
In support of this exploration, students will produce a range of media artifacts that explore and
contextualise the relationship of media to culture through individual analysis, collaborative and
interdisciplinary creative practice and critical reflection.
Learning Outcomes
L1
L2
L3
L4
L5
L6
Apply critical theory to analyse cultural systems in the context of creative media production
Define the relationships and roles through which creative practitioners interact with culture
Produce creative work that explores the discourse between media production and cultural
systems
Describe how a range of disciplinary understandings of culture can enhance creative practices
Describe how a range of discursive systems, social movements and political actions shape
contemporary creative practice
Critically reflect and evaluate the successes and challenges arising from interdisciplinary
collaboration
For Faculty Developing & Delivering Content

What is the difference between the National Module Coordinator (NMC) and the Local Module
Coordinator (LMC)?
National Module Coordinators are mostly concerned with consistency of delivery and assessment
standards across the different campuses. Local Module Coordinators are responsible for delivery of
the subject, management of tutors where applicable, and have reporting responsibilities to the NMC.
NMCs are responsible for coordinating local campus staff for developing and curating material.
What things do I need to account for when developing content for online?
Before students can reasonably be expected to undertake effective critical thinking tasks in the
classroom, you need to ensure that your lesson plan gives the following information to tackle these
ideas.
Background Knowledge information about the topic that is required for thoughtful reflection
Critical Concepts or Vocabulary concepts that facilitate thinking and judgment in particular
areas. Some common concepts are cause and effect; premise and conclusion; inference and
assumption; necessary and sufficient condition; bias; point of view.
Criteria for Judgment knowledge of the principles that govern quality thinking and
judgment. These include argumentation and logic; criteria for practical deliberation; criteria
governing inquiry and justification e.g. accuracy, coherence, clarity, feasibility, fairness,
plausibility, originality.
Strategies organising devices that may be useful for guiding performance in certain tasks.
Habits of mind attitudes or values important for thinking. Includes open-mindedness,
independent open-mindedness, inquiring and critical attitude, respect for high quality
performances and intellectual work ethic.
What Techniques can I use in class time to get students to engage with the content?
Use the class time as an opportunity to develop critical thinking skills. Use questioning techniques,
differentiation & grouping strategies as defined in the SAE Academic Services Wiki for more
information.
What follow-up tasks should I set students for their out of class time?
The NMC will help guide these activities, however it is good practice to pose a set of questions
which students should respond to in a low stakes writing task that you assign. Use the Foundational
Teaching Techniques & Strategies the SAE Academic Services Wiki for more information.
Logistics & Implementation

How do I timetable modules with a National Module Coordinator?
Schedule one, two hour session per teaching week, per tutorial group. You should schedule these
classes in computer labs.
How do I staff these modules?

Nationally there will be a NMC with a 0.2 allocation. They will deal directly with the LMCs (Local
Module Coordinators). The LMCs will then be expected to manage the local faculty delivering the
5
modules and will have 2 additional hours allocated for these tasks. The faculty delivering the
modules will be given 2 hours of face to face, plus associated working time.
What class resources are required to run these modules?

You will need to ensure that there is enough stationary provided to faculty and students to help
foster non-computer based interaction during the class. Ensure that your rooms have some sort of
white board (or preferably a white board wall)
Do I require a local Module Coordinator?

For the first implementation of the this approach we will use a local Module Coordinator (even when
there is only 1 staff member on the unit). This person will act as the central point of contact between
the NMC and local campus faculty delivering the module.
What time allocation do I give the local Module Coordinator.

We anticipate that this person should have two hours per week, for the duration of trimester
allocated to this task. They will be expected to contribute to four formal meetings with the NMC
during trimester on top of the normal duties of a Module Coordinator.
How does the introduction of National Module Coordinators change demarcation of faculty roles?
Faculty will still be expected to develop and prepare for their classes, however this will be guided by
the NMC and what they decided are immediate development goals. Tutors will still be expected to
mark assessments and provide pastoral care as per normal.
How do local campus lecturing staff raise concerns and curriculum design issues
Through your local campus Coordinator who needs to place these issues on the staff feedback
forms available via the SAE Australia Program & Module Codes Directory.
I have an NMC at my campus, what can I do to support them?

The NMCs are responsible for the strategic implementation and monitoring of modules under their
delegation. They are expected to report on data and communicate with decentralized teams. The
time allocation for NMC duties must be respected and provided to them as block of time. The NMCs
will report directly to the NMAS who will be able to provide local campus management with
information regarding their performance and work patterns. NMCs will also be responsible for
communicating their working patterns to the CACs and Managers. Any negotiation regarding work
patterns needs to be reasonable and acknowledge the matrix reporting structure.
LMC/NMC meetings and frequency

Monthly.
Curriculum quick view

The table provides a basic guide to the topics covered each week in CIU 211. A detailed content list
featuring suggested theories and discussion points that relate to the broad themes below can be found
on page 20.
Week
General Topics
Postmodernism (aesthetics)
Poststructuralism, deconstruction (discourse)
Aesthetics, beauty, ethics, high/low culture
The mainstream, taste and cultural appropriation
Subcultures, cultural capital, style, social distinction
Sex, genders, sexualities

Dubai Only: Audiences and fandoms
Raunch culture, censorship, pornography

Dubai Only: Fame and celebrity
Globalisation, cosmopolitanism and cultural Imperialism
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Posthumanism and cyber culture
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Mediated violence: effects and aesthetics
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Affluenza, material culture and commodity fetishism
A flexible approach to teaching this unit

A researched guide to this Unit is provided here in this Teachers Guide. The aim of this guide is to
provide you with resources and lesson plans while at the same time giving you room to integrate your
own resources (videos, readings) and lesson plans (lecture content and exercises), and even lecture
order. Therefore, you have two options for delivery:
You can use everything here as is and make no changes, or
You can make some changes and have them approved by your Campus Academic Coordinator
before delivery.
Either way, you will need to have the outline available to the students in week 1 of the course.
ASSESSMENT OVERVIEW
211.1 Dialectical inquiry
ASSESSMENT 1
Assignment Name Dialectical Inquiry
Due
3, 4, 5, 6, 7, 9, 10, 11, 12. In class time as negotiated with your tutor.
Weighting
30%
Submission
Format
A 10 min oral presentation OR infographic OR digital poster OR video blog OR podcast. This must
be shared online AND either the media files or a URL indicating the location of your media must
be submitted via campus online.
Over the course of 10 weeks, each student is required to complete one dialectical inquiry task.
This will be presented/displayed and then discussed in the dialogue forum by their tutors and
peers.
Brief
Each dialectical inquiry is expected to engage critically with one of the weekly content topics
within the course. Students are expected to form a compelling argument and take a critical
position on a particular content topic. Students are free to decide how they wish to position their
argument; however substantial research and appropriate referencing must always support this.
Students have the option to nominate for a particular topic in weeks 1 and 2. However, any
student who has not done so by then will be assigned a topic. Submissions/presentations will run
in tutorial times from weeks 3-12.
The delivery format will be varied based on the types of content students nominate to respond
to, however the delivery format should always seek to be engaging and will be
distributed/viewed/discussed with peers and the tutor in their nominated tutorial group.
Requirements
Whether you choose to deliver your dialectical inquiry as verbal presentation, infographic, digital
poster, video blog, or podcast, it is a requirement that these are published online prior to class
for easy sharing in tutorial times allocated to the dialogue forum.
Additionally, students are also expected to actively participate in the weekly dialogue forums by
way of sharing their critical perspectives and providing peer-to-peer feedback each week.
Assessment 1 Criteria
Weighting
Criteria
30%
Presentation skills:
-Quality of delivery as relevant to chosen mode of presentation.
-Appropriate online platform chosen for content sharing
30%
Research:
-Quality of sources (relevance, authority, variety)
-Depth and sophistication of engagement
-Analysis vs. description
40%
Discussion:
-Rigorous discussion or presentation of evidence or observations
-logical conclusions, or clarity of insight
-Contextualisation of topic
211.1 Dialectic inquiry rubric

CRITERIA
PRESENTATION SKILLS
-Quality of delivery as
relevant to chosen
mode of presentation.
(30/2)
PRESENTATION SKILLS
-Digital literacy
- Appropriate online
platform chosen for
content sharing. (30/2)
RESEARCH
-Quality of sources
(relevance, authority,
variety). (30/2)
RESEARCH
-Depth and
sophistication of
engagement
-Analysis vs.
description. (30/2)
DISCUSSION
-Rigorous discussion or
presentation of
evidence or
observations. (40/2)
DISCUSSION
-logical conclusions, or
clarity of insight
-Contextualisation of
topic. (40/2)
HD
Has excellent clarity
and presentation.
Able to
communicate and
deeply extend ideas
effectively. Able to
effectively engage
with an audience
and respond to
questions or
comments to
support
presentation. Uses
well sourced or
created supporting
materials
appropriately.
Demonstrates
excellent digital
literacy and
engagement with
an appropriate
online platform
chosen for content
sharing.
Uses a wide variety
of authoritative
sources appropriate
for the task.
DD
Has very good clarity
and presentation.
Able to communicate
and extend ideas
effectively engage
with an audience and
respond to questions
or comments. Uses
well sourced
supporting materials
appropriately.
CR
Has good clarity and
presentation. Able to
communicate ideas
engage with an
audience and respond
to questions or
comments. Uses well
sourced supporting
materials
appropriately.
PP
Has clarity and
presentation.
Able to
communicate and
extend ideas
effectively. Able
to effectively
engage with an
audience and
respond to
questions or
comments. Uses
well sourced
supporting
materials
FF
Does not have
adequate clarity
and presentation,
difficult to
understand.
Not able to
effectively
communicate
ideas. Little to no
engagement with
audience. No use
of supporting
materials.
Demonstrates good
digital literacy and
engagement with an
appropriate online
platform chosen for
content sharing.
Demonstrates digital
literacy by choosing
and appropriate
online platform for
content sharing.
Demonstrates
digital literacy by
sharing content
via an online
platform.
Fails to
demonstrate
digital literacy.
Does not share
content online.
Uses authoritative
sources appropriate
for the task.
Adequately uses
sources appropriate
for the task.
Uses an adequate
amount of
sources
appropriate for
the task.
Sources were not

authoritative
and/or
appropriate for
the task.
Demonstrates
extensive research
exploring new
concepts that are
most likely new to
the student and
their peers.
Balances and
greatly extends key
points and detail.
Demonstrates a high
engagement with
research exploring
new concepts that
are most likely new to
the student and their
peers. Balances and
extends key
points and detail
effectively.
Demonstrates
engagement with
research exploring
new concepts that
are most likely new to
the student and their
peers. Balances key
points and detail
effectively.
Rigorous and highly

effective discussion
and/or presentation
of content.
Consistently
accurate evidence
gathering or
observations.
Consistently forms
logical conclusions,
has effective clarity
or insight into topic.
Rigorous and
effective discussion
and/or presentation
of content.
Consistently accurate
evidence gathering or
observations.
Effective discussion
and/or presentation
of content.
Consistently accurate
evidence gathering or
observations.
Consistently forms
logical conclusions,
has clarity or insight
into topic.
Forms logical
conclusions, has
some clarity or insight
into topic.
Demonstrates
some
engagement with
research
exploring new
concepts that are
most likely new to
the student and
their peers.
Balances key
points and detail.
Satisfactory
discussion and/or
presentation of
content.
Generally
accurate evidence
gathering or
observations.
Sometimes forms
logical
conclusions, has
some clarity or
insight into topic.
Demonstrates an
unsatisfactory
engagement with
research. Has
little to no depth
or sophistication
to engagement of
topic. Does not
balance key
points and detail
effectively.
Unsatisfactory
discussion and/or
presentation of
content. Lacked
accurate
evidence
gathering or
observations.
Forms
conclusions, has
little to no clarity
or insight into
topic.
211.2 Interdisciplinary creative project

ASSESSMENT 2
Assignment Name Interdisciplinary creative project
Due
Project proposal submitted via campus online in week 6.

Project published via online platform and documentation submitted via campus online by Friday of
week 12.
Weighting
40%
Submission
Format
Audio, visual and/or textual materials to be published in a live online environment. A link to the live
project and accompanying project description must be submitted via campus online.
Combining your creativity and the critical cultural insights that we cover in CIU211, you are to
conceptualise an interdisciplinary mixed-media project that demonstrates the creative application of
your critical thinking and analytical skills and deliver this project via a live online platform.
Brief
An example of what constitutes an interdisciplinary mixed-media project might include a video essay,
an e-publication, an educational animation, a digital story, a culture jam or remix project, a transmedia
project, a web application or a game among others.
The project must explicitly engage with cultural criticism, theories and/or aesthetics covered in class.
A range of examples as well as locations for online publication and 'how to' resources that will help
you decide where to publish your project will be discussed in class.
Either individually or in student groups of up to 3, you will propose a collaborative mixed-media
project that you will need to publish in a live online environment. Your project brief should be
submitted via campus online in the format of a one-page word document, which provides a brief
description of the project, a bio line for each group member and a brief statement about their
contribution to the project, and a link to the location of the project online.
Requirements
Students are to use the learning contract as designed for the studio units to specify key deliverables.
Although students may choose to work collectively towards a key deliverable, each learning contract
must be comprised of individual milestones, which demonstrate a students ability to complete the
project.
Project proposals and learning contracts must be submitted via campus online in week 6.
Projects must be submitted as per above instructions by Friday of week 12.
Weighting
Criteria
30%
Planning and design:

-Submission of project proposals and learning contract in week 6 by each group member
-Feasibility of Individual milestones and
-Feasibility of working timeline
-Quality of written proposal submission
40%
Creative media product:

-Quality of media content and sources
-Depth and sophistication of engagement with critical concepts
-Demonstration of aesthetic confluence between artistic/textual elements
-Clarity of insight displayed
30%
Project execution:
-Understanding and planning of project design
-Demonstrates understanding of engaging target audience
-Timely and professional delivery of project
-Choice of appropriate online platform and quality of online project description
10
211.2 Interdisciplinary creative project rubric

CRITERIA
PLANNING AND
DESIGN
-Submission of
project
proposals and
learning contract
in week 6.
-Feasibility of
Individual
milestones.
-Feasibility of
working
timeline. (30/2)
PLANNING AND
DESIGN
-Quality of
written proposal
submission.
(30/2)
CREATIVE MEDIA
PROJECT
-Demonstration
of aesthetic
confluence
between
artistic/textual
elements.
-Clarity of insight
displayed.
(40/2)
HD
DD
CR
PP
FF
Individuals develop a
reasonable and
complete timeline
describing when all
key elements of the
work (e.g., planning,
research, testing, first
draft, final draft) will
be completed and
combined.
Milestones are
ambitious but
realistic and the
proposed timeline for
completion
demonstrates
excellent project
management skills a
very high level of
strategic planning.
The quality of written
proposal submission
is excellent. The
document is free of
errors in spelling,
grammar,
punctuation,
sentence and
paragraph structure
etc. The tone and
language is
appropriate to the
task and shows
familiarity with
concepts and
terminology learnt in
class. Document
formatting conforms
to SAE style
guidelines and all
sources are
referenced in APA
format.
complete timeline
describing when all
key elements of the
work (e.g., planning,
research, testing, first
draft, final draft) will
be completed and
combined.
Milestones are
realistic and the
completion
demonstrates very
good project
management skills
shows a good level of
strategic planning.
semi-complete
timeline describing
when different parts
of the work (e.g.,
planning, research,
testing, first draft,
final draft) will be
done. Milestones are
realistic for the most
part, and the
completion
demonstrates good
project management
skills and an attempt
at strategic planning.
Individuals develop
an incomplete
timeline. Milestones
are unrealistic. The
proposed timeline
for completion
indicates
unsatisfactory
engagement with
planning and project
management.

proposal submission
is very good. The
document is largely
free of errors in
spelling, grammar,
punctuation,
sentence and
paragraph structure
etc. The tone and
language is
appropriate to the
task and shows
familiarity with
concepts and
class. Document
formatting conforms
to SAE style
guidelines and all
sources are
referenced in APA
format.

proposal submission
is good. The
document contains
minor errors in
spelling, grammar,
punctuation,
sentence and
paragraph structure
etc. The tone and
language is generally
appropriate to the
task and shows some
familiarity and
understanding of
concepts and
class. Document
formatting is
consistent and the
majority of sources
are referenced.
Makes excellent use

of artistic and textual
elements. Aesthetic
choices greatly
enhance the
effectiveness of the
creative project.
Composition and
organisation of
creative elements
display excellent
clarity of insight and
artistic consideration.
Makes very good use

of artistic and textual
elements. Aesthetic
choices largely
enhance the
creative project.
Composition and
organisation of
creative elements
display clarity of
insight and artistic
consideration.
Makes good use of

artistic and textual
elements. Aesthetic
choices generally
enhance the
creative project.
Composition and
organisation of
creative elements
display some insight
and artistic
consideration.
Individuals develop
an incomplete
timeline describing
when different
parts of the work
(e.g., planning,
research, testing,
first draft, final
draft) will be done.
Milestones are
indicated but
important
considerations are
missing. The
proposed timeline
for completion
demonstrates a
basic understanding
of project
management.
The quality of
written proposal
submission is
satisfactory. The
document contains
errors in spelling,
grammar,
punctuation,
sentence and
paragraph structure
etc. The tone and
language is
acceptable. There is
evidence of
familiarity with
concepts and
terminology learnt
in class, but
understanding is
unclear. Document
formatting is
inconsistent and
only some sources
are referenced.
Makes satisfactory
use of artistic and
textual elements.
Aesthetic choices
attempt to enhance
the effectiveness of
the creative project.
Composition and
organisation of
creative elements
display minimal
insight and artistic
consideration..
The quality of
written proposal
submission is
unsatisfactory. The
document contains
major errors in
spelling, grammar,
punctuation,
sentence and
paragraph structure
etc. The tone and
language is poor.
There is little to no
evidence of
familiarity with
concepts and
terminology learnt
in class. Document
formatting is
inconsistent and
sources are poorly
referenced.
The use of artistic

and textual
elements are
unsatisfactory.
Aesthetic choices
fail to enhance the
creative project.
Composition and
organisation of
creative elements
lack insight and
show little evidence
of artistic
consideration.
11
CREATIVE MEDIA
PROJECT
-Quality of
media content
and sources.
-Depth and
sophistication of
engagement
with critical
concepts. (40/2)
PROJECT
EXECUTION
-Understanding
and planning of
project design
-Aesthetic
confluence.
(30/2)
PROJECT
EXECUTION
-Timely and
professional
delivery of
project
-Quality of
project
submission.
(30/2)
The project shows a

large amount of
original thought.
Ideas are creative and
inventive. The project
exhibits an
outstanding degree
of engagement with
critical concepts
taught in this module
and extends beyond
these. Source
information collected
for all elements of
the project are
documented/credited
appropriately.
The project
demonstrates critical
insight into the
intended audience in
the design and is
executed accordingly.
It has an established
and clear focus
maintaining a
consistent critical
perspective and
stylistic approach
throughout. The
product is highly
engaging and
successful in its
purpose.
Routinely uses time
well throughout the
project to ensure
things get delivered
in a timely and
professional manner.
The project is
delivered by the due
date via campus
online AND published
on an appropriate
digital contentsharing platform
accompanied by a
well-written
description of the
project and its
intended purpose.
The project shows

original thought.
Ideas are creative and
inventive. The project
exhibits a high degree
of engagement with
critical concepts
taught in this module.
Source information
collected for all
elements of the
project are
documented/credited
appropriately.
The project is
creative and most
aspects are well
thought-through. The
project exhibits a
degree of
engagement with
critical concepts
taught in this module.
Source information
collected for all
elements of the
project are
documented/credited
appropriately.
The project is
creative and most
aspects are
thought-through.
The project
attempts some
engagement with
critical concepts
taught in this
module. Source
information has
been collected for
elements of the
project but this
lacks appropriate
citation and clarity.
The project is
clichd, rushed or
partial and poorly
thought-through.
The project does
not attempt to
engage with critical
concepts taught in
this module. Source
information has not
been collected
and/or is incorrectly
documented.
The project
demonstrates
awareness of
the design and is
executed accordingly.
It has an established
focus maintaining a
consistent
perspective and
stylistic approach
throughout. The
product is very
engaging and
successful in its
purpose.
The project
demonstrates some
awareness of
the design and is
executed accordingly
with some success. It
has an established
focus and for the
most part, maintains
consistency in terms
of perspective and
style. The product is
engaging and
successful in its
purpose.
The project
demonstrates some
awareness of
intended audience
in the design and is
executed
accordingly. It has
an established focus
and for the most
part, maintains
consistency in terms
of perspective and
style. The product is
somewhat engaging
and successful in its
purpose..
The intended
audience for the
project is unclear.
Perspective and
style are
inconsistent and
lack confluence or
cohesion. The
product fails to be
engaging and is
unsuccessful in its
purpose.
Uses time well

throughout the
project to ensure
in a timely and
professional manner.
The project is
date via campus
on an appropriate
digital contentsharing platform
accompanied by a
description of the
project and its
intended purpose.
Uses time well

throughout the
project to ensure
in a timely manner.
The project is
date via campus
on an appropriate
digital contentsharing platform.
Use of time has

ensured project
delivery however
better time
management is
required to increase
quality of delivery.
The project is
delivered by the
due date via
campus online AND
published on an
appropriate digital
content-sharing
platform.
Uses time poorly

and fails to deliver
project in a
professional and
timely manner. The
project is delivered
via campus online
only.
12
211.3 Critical evaluation and self-reflection on the creative project
ASSESSMENT 3
Assignment Name Critical evaluation and self-reflection on the creative project
Due
Week 13
Weighting
30%
Submission Format Presentation of project, class discussion and documented self-reflection.
Brief
The reflective practitioner is one who uses the tool of reflection to revisit an experience to learn from
it with the aim of improving future practical outcomes. Both problems and successes in professional
practice must be framed and evaluated. It is expected that the students will frame this presentation
in terms that are particularly relevant to what they have learnt in CIU and how they have combined
these learnings with their skills as creative media artists. This will be carried out in conjunction with a
peer assessment of students' work by other students in the module. Peer assessment is intended to
extend and enrich their formal self-assessment and refine their critical literacy skills.
Reflection on personal learning, project successes and limitations, technical challenges, creative
aspirations and limitations, interpersonal communication and, where relevant, collaborative work
processes and strategies for improvement, should be discussed in the self-reflection document.
Requirements
In allocated class time in week 13, students are to present their creative projects to their tutor and
peers, respond to questions from their tutors and peers about their projects, critically engage with
the work of their peers offering thoughtful feedback. In addition to the presentation, students must
also reflect on their holistic learning experience in the form of a written self-reflection.
Weighting
30%
20%
30%
20%
Criteria
In class presentation of project and peer discussion:
-Demonstrate understanding of relevant concepts learnt in CIU and the relationship between /
application of these concepts to the creative process and project outcomes
- Demonstrate the capacity to offer constructive feedback to their peers in a professional manner
- Demonstrate maturity in responding to feedback from their peers and tutor
Presentation Skills:
-Voice tone & volume
-Poise, confidence and flow of speech
-Professional, sophisticated language
-Personal presentation
-Timing and pace of presentation
-Audience engagement
-Use of presentation aids (slides, other media, props, etc.)
Self-reflection document:
Submitted as a word document to the tutor at the time of the project presentation AND submitted in
full via campus online by the end of week 13.
- Summarise and demonstrate personal learning
- Identify project components and challenges
- Identify elements of the project that went well and the reasons for this.
- Analyse causes of problems
- Evaluate problem solving processes
- Propose future processes and methods
Documentation
-Spelling, grammar, punctuation, sentence and paragraph structure.
-Tone and language
-Document formatting to SAE style guidelines
-APA Reference Style & formatting
13
211.3 Critical evaluation and self-reflection of the creative project rubric

CRITERIA
PRESENTATION
-Critical
discussion and
feedback. (30/2)
PRESENTATION
-Evidence of
learning and
creative
synthesis of
concepts. (30/2)
PRESENTATION
-Communication
skills. (20)
DOCUMENTED
CRITICAL
REFLECTION
-Identify project
components and
challenges.
Analyse causes
of problems.
(30/2)
HD
DD
CR
PP
FF
An outstanding
presentation of the
final creative project
engaging, succinct
and professional.
Demonstrates
excellent maturity
and insight when
responding to
feedback from their
peers and tutor.
Demonstrates
excellent engagement
with peers and
provided thoughtful
feedback.
Demonstrates
excellent
understanding of
relevant concepts
learnt in CIU and the
relationship
between/application
of these concepts to
the creative process
and project
outcomes.
Has excellent volume,
tone, clarity and
presentation. Able to
communicate and
deeply extend ideas
effectively engage
with an audience and
respond to questions
or comments to
support presentation.
Uses well sourced or
created supporting
materials
appropriately.
Demonstrates a
thoughtful and
detailed
understanding of the
processes
undertaken. Probable
causes of problems
are identified and
discussed beyond the
current project.
A very good
presentation of the
final creative
projectengaging,
succinct and
professional.
Demonstrates a high
level of maturity and
insight when
responding to
feedback from their
peers and tutor.
Demonstrates
engagement with
peers and provided
good feedback.
Demonstrates a very
good understanding
of relevant concepts
relationship
between/application
and project
outcomes.
An effective
presentation of the
final creative
project.
Demonstrates
maturity and insight
when responding to
feedback from their
peers and tutor.
Demonstrates
engagement with
peers and provided
feedback.
An adequate
presentation of the
final creative project.
Demonstrates some
maturity and insight
when responding to
feedback from their
peers and tutor.
Demonstrates some
engagement with
peers.
An unsatisfactory
presentation of the
final creative
project.
Demonstrates
unsatisfactory
insight when
responding to
feedback from their
peers and tutor.
Demonstrates
unsatisfactory
engagement with
peers and provided
no feedback.
Demonstrates a
good understanding
of relevant concepts
relationship
between/application
and project
outcomes.
Fails to demonstrate
understanding of
relevant concepts
relationship
between/application
and project
outcomes.
Has very good

volume, tone, clarity
and presentation.
Able to
communicate and
extend ideas
effectively engage
with an audience
and respond to
questions or
comments. Uses well
sourced supporting
materials
appropriately.
Demonstrates a very
clear understanding
of the processes
undertaken.
Probable causes of
problems are
identified. Effective
project elements
have been identified
and their broader
impact is clearly
described.
Has good volume,

tone, clarity and
presentation. Able
to communicate
ideas effectively.
Able to engage with
an audience and
respond to
questions or
comments. Uses
well sourced
supporting materials
appropriately.
Demonstrates a
satisfactory
understanding of
relevant concepts
relationship
between/application
and project
outcomes.
Has adequate
volume, tone, clarity
and presentation.
Able to communicate
ideas. Able to engage
with an audience.
Uses supporting
materials
appropriately.
Demonstrates some
understanding of the
processes
undertaken. Some
possible causes of
problems are
proposed. Elements
which went well have
been identified,
however the reasons
for their success have
not been fully
explained /
understood.
Demonstrates a
partial
understanding of
the processes
undertaken with
significant
omissions. Possible
causes of problems
are proposed with
significant
omissions.
Demonstrates a
general
understanding of
the processes
undertaken.
Possible causes of
problems are
proposed. Elements
which went well
have been identified
and there is some
discussion which
demonstrates that
the student is able
to connect these to
future outcomes.
Does not have

adequate volume,
tone, clarity and
presentation,
difficult to hear or
understand. Not
able to effectively
communicate ideas.
Little to no
engagement with
audience. No use of
supporting
materials.
14
DOCUMENTED
CRITICAL
REFLECTION
-Evaluate
problem solving
processes. (30/2)
DOCUMENTED
CRITICAL
REFLECTION
Language,
formatting,
fluency, style.
Spelling,
grammar,
punctuation,
sentence and
paragraph
structure. (20)
Reflection on the
learning process is
demonstrated.
Critical insight is
provided into
challenges and
successes across the
entire project, and
means for
improvement are
proposed and
evaluated against
external references.
Consistent and
authoritative
academic
language/tone:
thoughtful and
engaging. Argument
is carried through text
with good transitions
from point to point.
Conclusion
summarises and
reiterates major
points. Spelling,
sentence structure
and grammar
excellent; correct use
of punctuation and
citation style;
Conforms in every
way to format
requirements
Some clear
reflection on the
learning process is
demonstrated. Clear
insight is provided
into challenges and
successes across the
entire project, and
means for
improvement are
proposed and
evaluated.
Reflection on the
learning process is
demonstrated.
Insight is provided
into challenges and
successes across
several aspects of
the project, and
means for
improvement are
proposed.
Some clear reflection

on the learning
process is
demonstrated.
Insight is provided
into challenges and
successes, and
means for
improvement are
proposed.
Reflection on the
learning process is
poorly
demonstrated.
Insufficient insight is
provided into
challenges and
successes, or means
for improvement are
poorly proposed.
Consistent academic
language/tone,
engaging writing.
Conclusion
effectively reiterates
major points. Clear
transitions from
point to point.
Sentence structure,
grammar are very
good; mostly correct
use of punctuation,
grammar and
citation style;
Conforms to format
requirements.
Mostly consistent
academic
language/tone with
some lapses. Clear
introduction and
conclusion.
Generally clear
though may wander
occasionally. May
have some unclear
transitions,
Sentence structure,
spelling, grammar,
and tone good with
occasional lapses;
Citation style often
used correctly.
Generally conforms
to format
requirements.
An attempt at formal
writing exists, but is
of poor standard.
Weak or misleading
introduction. Body of
argument mostly
relevant, but may
not progress fluidly.
Few or weak
transitions.
Conclusion may not
provide a satisfactory
closure. Problems in
sentence structure,
grammar, spelling,
and/or tone (usually
not major). Some
errors in
punctuation, citation
style, and spelling.
Some format
requirements met.
Casual language or
slang prevalent.
Weak introduction,
body does not
follow clear
structure.
Conclusions are not
supported.
Transitions
confusing and
unclear. Major,
consistent problems
in sentence
structure,
punctuation,
spelling, grammar,
and/ or tone.
Frequent errors in
citation style. Does
not conform to
format
requirements.
Marking with Rubrics

I have provided automated copies of these rubrics as Excel documents in the CIU 211 folder entitled
Curriculum Resources on the Google Drive.
https://drive.google.com/open?id=0B0Pw13MGN1nyfk9OcWFKcXFfaXFnLXZzVUwyaWViTVFiVDNaTWll
MkNMMm9nNmtPdWVMdWc&authuser=1
While these rubrics automatically allocate a comment for the given grade for each part of the
assessment, teaching staff are still encouraged to add additional and more personalized feedback into
the additional comments section of the excel document.
Moderation
Cross-Campus Moderation occurs each trimester and should be completed by week 14. Local Module
Coordinators are to provide the national team with one example of each grade (F, P, C, D, HD) for each
assessment item.
A document containing the details of the uploaded files (i.e. file name, corresponding mark allocated
and feedback) should accompany these uploads. Teaching staff members from each campus are asked
to place samples of student work for each assessment item into the designated folders under
Curriculum Resources on the Google Drive.
https://drive.google.com/open?id=0B6IcDCGbIxkCT0hZMFIySnBMajQ&authuser=1
15
The NMC will allocate a second marker for set examples. You will be notified of the assessments you will
be cross-marking via email.
The second marker will then upload a word document containing their assessment of the marked
samples as percentages (Not Letters), plus feedback and the student name/file name into the allocated
Moderation folder.
In 15T2 we will commence longitudinal moderation. Nomination of exemplars for inclusion will occur at
the end of the trimester as above, and results to be uploaded to Curriculum Resources. More
information about longitudinal moderation will be provided closer to its implementation.
Assessment practices
It should be noted that students in todays society are easily engaged when they are tasked with
creating social-interactive content. For them, creating such artifacts is not a separate exercise, but
simply an extension of what they do already. Assessment tasks requiring the use of technology help
students demonstrate higher levels of thinking which can inspire them to present complex, contextual
knowledge and engage more actively in the learning process (Mills, 2013). For these reasons, I suggest
that we encourage a multimodal approach not only to content curation but also with regards to the
execution and delivery assessment tasks. While also encouraging them to both critically reflect on
established media content, practices and theories and interrogate their position as consumers and
producers of media.
For example, a student may choose to deliver their dialectical inquiry as verbal presentation however
the option to deliver this assessment item as an infographic, digital poster, video blog, or podcast allows
the student to choose the method that best suits their communication style. Furthermore, is a
requirement that these are published online prior to class for easy sharing in tutorial times allocated to
the 'dialogue forum'. Where possible all digital content created by students should be posted to a live
external site and linked back to their campus online submissions.
Teachers should pay particular attention to instructing the students on best media publishing and
sharing practices with the aim of building these vital social and creative media literacies into the
everyday learning and teaching practices.
Assisting students with special needs

Purpose of alternative assessment options
To increases opportunities to address written communication skills, cooperation, teamwork, and

reflective thinking by diversifying assessment tasks.
To identify the nature of inclusive and accessible assessment.
To identify characteristics of differently-abled learners and general barriers to assessment.
To review different approaches to making assessment accessible.
To define key barriers to specific forms of assessment and outline possible accommodations.
Assisting students with dyslexia
Provide a reading list and glossary of terms well in advance.

Be clear about key and secondary texts and where possible provide alternative ways of gaining the
same insights (e.g. documentary films, visual diagrams etc.)
16
Regular meetings to discuss work/progress.

Be flexible and offer help with time management (e.g. additional time, breaking work down in
smaller pieces, remind students of deadlines).
Consider flexible marking strategies, i.e. allow for discrepancy between ability and standard of
written work and rather mark content and understanding than spelling and syntax.
Assisting students with autism spectrum disorder (ASD) and social anxiety
Explicit written information on expected outcome (e.g. word limit, deadline).

Demonstrate examples of format, content and layout of model work.
Well-structured meetings (e.g. list of topics, be clear about time and duration of meeting) to discuss
progress and keep students on track.
Be proactive when suggesting meetings, students may be unable to ask for help.
Written information on e.g. instructions, deadlines, outcomes, assessment criteria
Offer help with time management (e.g. additional time, breaking work down in smaller pieces,
remind students of deadlines).
Consider flexibility in marking as students might have bad and good period while they are
working over a duration of time.
If students are having difficulties planning their assessment tasks, you might like to draw their attention
to the following resources while also encouraging the student to think about how their learning style
and/or any specific disorder could be utilised to their advantage given the range of assessment
possibilities.
Martin, R. (2011). Top Tips for Asperger Students: How to Get the Most Out of University and College. Jessica
Kingsley Publishers.
Jamieson. J, & Jamieson, C. (2014). Managing Asperger Syndrome at College and University: A Resource for
Students, Tutors and Support Services. Routledge
The following resources offer compelling arguments that support the academic validity of assessing
critical engagement and rhetorical perspectives via non-traditional means for all students.
Bean, John. (2011). Engaging Ideas: The Professors Guide to Integrating Writing, Critical Thinking, and Active
Learning in the Classroom. 2nd ed. The Jossey-Bass Higher and Adult Education Series. San Francisco: JosseyBass.
Birdsell, D., & Groarke, L (2003). Outlines of a Theory of Visual Argument. Argumentation & Advocacy 43: 103
113.
Hinck, A. 2013. Framing the video essay as argument. Cinema Journal Teaching Dossier, 1(2). Retrieved
http://www.teachingmedia.org/framing-the-video-essay-as-argument/comment-page-1/#comment-423
Kuhn, Virginia. (2012). The Rhetoric of Remix. Transformative Works and Cultures, 9.
http://journal.transformativeworks.org/index.php/twc/article/view/358/279.
Kress, Gunther. (2005). Gains and Losses: New Forms of Texts, Knowledge, and Learning. Computers and
Composition, 22(1), 522. doi:10.1016/j.compcom.2004.12.004
Mills, M. (2013). Facilitating Multimodal Literacy Instruction through Digital Curation. In S. Huffman, J.
Whittingham, C. Wiedmaier, & W. Rickman (Eds.), Technological Tools for the Literacy Classroom. IGI Global.
17
LECTURES AND TUTORIALS

Blended learning learn at your own pace
Blended learning is a combination of offline (face-to-face, traditional learning) and online learning in a
way that the one compliments the other. It provides individuals with the opportunity to enjoy the best
of both worlds. For example, a student might attend classes in a real-world classroom setting, and then
supplement the lesson plan by completing online multimedia coursework. As such, the student would
only have to physically attend class once a week and would be free to go at their own pace (and without
worrying about scheduling issues).
Blended learning is often also referred to as hybrid learning, and can take on a variety of forms in
online education environments. While some organizations may only use blended learning techniques
on rare occasions, others might utilize it as a primary teaching method within their curriculum. There
are two key principles commonly associated with blended learning (which are the secrets to its
success): students who can share information and work with other students directly in a collaborative
setting have a more enriched learning experience, and collaboration between students can be
improved upon if group activities rely on information gathered from online resources or lessons. It's
also been suggested that students who complete online coursework followed by interactive, face-toface class activities have richer educational experiences.
Talentlms. (2015). Blended learning.
Retrieved 8 February 2015, from http://www.talentlms.com/elearning/blended_learning
I have curated a variety of blended learning resources, which can be

found on this Pinterest board pictured to the left. Staff also encouraged
to develop and contribute their own teaching tools and lesson plans to
the stock of blended learning creative task summaries outlined on page
20 of this document.
If you develop new activities or wish to modify some of the activities I
have already developed on Storify, please do so and add these to the
folder called Blended Content and Tasks in word doc or Google doc
format.
https://drive.google.com/open?id=0B6IcDCGbIxkCT0hZMFIySnBMajQ&authuser=1
If you are unsure of how to go about writing the task instructions or need ideas for tasks, please visit
these Pinterest boards for ideas.
18
The flipped classroom get the most out of your learning experience
The flipped classroom is informed by constructivist pedagogy and represents a shift
from passive to active learning to focus on higher order thinking skills such as analysis, synthesis and
evaluation (See Blooms Taxonomy of learning objectives).
As Sankey and Hunt (2013) assert, ' the important feature of flipped classrooms is not that they are
new, or that they represent a move away from traditional lectures, or even that they use
technologies. Rather, the issue is that flipped classroom approaches combine pedagogy and learning
technologies in ways that extend to large numbers of students opportunities for deep learning
through application and consolidation' (p.786).
In the flipped classroom, the roles and expectations of students and teachers change where:
students take more responsibility for their own learning and study core content either individually
or in groups before class and then apply knowledge and skills to a range of activities using higher
order thinking,
teaching 'one-to-many' focuses more on facilitation and moderation than lecturing, though
lecturing is still important. Significant learning opportunities can be gained through facilitating
active learning, engaging students, guiding learning, correcting misunderstandings and providing
timely feedback using a variety of pedagogical strategies,
there is a greater focus on concept exploration, meaning making and demonstration or
application of knowledge in the face-to-face setting (see Diagram below).
The University of Queensland. (2015). What is flipped classroom.
Retrieved 8 February 2015, from http://www.uq.edu.au/tediteach/flipped-classroom/what-is-fc.html
Blending and flipping in CIU 211
Online introduction to content

Curated multimodal texts
Digitally mediated instruction
Dialectic inquiry
Creative project
Critical self-reflection
Prescribed learning materials

Self-directed reflection on concept
Creative learning summaries and
completion of set tasks
Tutorial with lecturer

Reading discussion
Dialogue with peers in class
and via social media
19
Lecture Topics
Suggested theoretical framing and discussion points.
Week
WEEKLY LECTURE TOPICS
Topic
Theory
Discussion
Postmodernism
Overview of modernism and postmodernism
Evidence of this in creative media style and technologies
Topic
Theory
Discussion
Poststructuralism
Overview of structuralism, post-structuralism
The death of the author, deconstruction of meaning
Topic
Theory
Discussion
Aesthetics - what do we mean by the term?

Beauty, ethics, artistic confluence,
20th century overview: dada, surrealism, pop,
Topic
Theory
Discussion
Mainstream Culture meaning and style

Cultural borrowing, social sentiment analysis
Top 40 music, blockbuster movies etc.
Topic
Theory
Discussion
Subculture meaning and style

Subcultural theory and CCCS critical theory
Mods, Punks, Surfies, Hip Hop etc.
Topic
Theory
Discussion
Gender and sexuality

Feminist and queer theory, gender performativity, gender marketing
Topic
Theory
Discussion
Raunch Culture
Sexualisation, objectification and agency.
Advertising, pornography, censorship.
Topic
Theory
Discussion
The West and its Others

Post-colonialism, cosmopolitanism, globalisation
Exoticisation, cultural appropriation, neo-imperialism
10
Topic
Theory
Discussion
More Human than Human

Transhumanism, posthumanism and cyborgology
AI, transhumanism, cyber culture etc.
11
Topic
Theory
Discussion
Mediated Violence
Media effects theory and the aesthetics of violence
Cultural effect of violent films, games, music etc.
12
Topic
Theory
Discussion
Affluenza
Material cultural theory, Marxism and social class
Labour, ethics, freedom paradox, choice, commodity fetishism
20
Dubai Variations to Lecture Topics

Week
6
WEEKLY LECTURE TOPICS

Topic
Theory
Discussion
Topic
Theory
Discussion
Fans, fandom and fanaticism

Participatory cultures and audiences
Fan fiction, networked gaming communities, Generation Like etc.
Fame and celebrity
Mass culture theories and the history of celebrity.
From the silver screen to reality TV.
CIU Special Blend - STUDENT FAQs

The following are some frequently asked questions about engagement with the content and what is
expected of the students in a blended setting at SAE. Please supply this information (or a version
thereof) to the students. I have created an online lecture for my students, which you are welcome to
use. You can find it here: https://storify.com/ciu211/introduction-to-blended-learning
Are there face-to-face lectures for this module?
The short answer is no. Formal face-to-face lectures on each campus have been replaced with an online
component, which is supported by two-hour face-to-face tutorials.
The things you need to know for the tutorial are given to you before hand.
You can go through these in your own time, at a pace that works for you in preparation for your next
tutorial.
When you come to the next tutorial, you will engage with this content with your tutor and peers.
Your online lectures will be made available via campus online under the classes tab each week.
Weekly tasks and readings that you are to complete prior to attending your tutorials are located under
the weekly tasks tab. New tasks will be posted as you are required to complete them, so please check
this regularly.
How much time does the module take?
The module has a workload of 9 hours per week. This time is split between the 2 hour face to face
tutorial component and the remaining time interacting with the online materials, interacting with your
peers online, doing assessments and undertaking self directed learning as required.
How does the online component relate to what I do in my tutorials?
The things that you do in the tutorial time are based on the content, which is provided via Campus
Online. All of your in tutorial activities relate to this material. It is essential that you look at this content
prior to coming to your tutorial.
How do I get the most out of the online components?
Read through all the information and topics for the week and take notes when you encounter
something of interest.
21
Write questions for things you may not understand or want to explore in tutorial. You should bring
these notes and questions to the next tutorial.
These will be used to help guide the discussions in class and in turn, improve your own understanding
and professional practice.
How do I collaborate with my peers & tutor?
There are many ways to communicate online. The mechanism for this will be indicated in Campus Online
for your module. Note that interaction with your peers and tutors will be a necessary part of the
module.
How to post ideas/responses online using Moodle
Ensure that you are using the communication mechanism provided to you via Campus Online. The
student forum is the ideal place to start a discussion about a weekly reading, ask teachers or peers a
question about the online content, and share your completed creative summary tasks prior to class.
CONTENT PROVIDED TO LECTURERS AND TUTORS

Where do I find the online lecture?
You will find the weekly online lectures at https://storify.com/ciu211
On a weekly basis, lectures should be embedded into campus online under classes.
How do I embed the online lectures into Campus Online?
In order to do this, create a page corresponding to the delivery week. I have included screen shots of a
completed online lecture page of campus online on the following page (see additional screenshots for all
campus online pages and preferred layouts provided in the CIU 211 Google Drive folder.
Direct links and embed codes for the content to date have been provided in the APPENDIX of this
document and is also available as a Google doc saved in our shared drive.
https://drive.google.com/open?id=1Z19kx_GKMvvmzqGPLmTI9lvL53zFzbb5cdaN_Yz1hko&authuser=1
Alternatively, you can go directly to the CIU 211 Storify page

https://storify.com/ciu211 From here you should copy the embed code by clicking on
the Embed icon in the top right corner of the Storify page (see image below)
and paste it into the html editor of the campus online page you created. There
are also other ways you may choose to display this content in campus online as
Storify permits the following export options (see image below).
Jodie Taylor, your National Module Coordinator, will publish any
updates to the curated lecture content online each Monday. As
Dubai has a slightly different content design to other campuses,
supplementary content will be provided to them in week 6 & 8.
Under the weekly tasks page, follow the same instructions as
above to embed the creative summary task instructions into a
page in Campus Online.
22
Creative Summary Tasks

In the blended setting, students are expected to engage with online lecture materials PRIOR to
attending their two-hour face-to-face tutorial.
As a mechanism for encouraging this behavior in the students, I have designed a creative task that
students are asked to complete at the end of a blended lesson or pair of lessons.
These are formative assessment tasks designed to guide the student through the process of applying
theoretical concepts learnt in class to creative media-making praxis. Moreover, these tasks force the
student to reflect on their mastery of the content. Students who have completed the set tasks to date
have said that they are fun and really useful.
The following creative summary tasks have been authored for you by the NMC.
Week 1 and 2: Post(er)modernism: Make a poster about postmodernism
Week 3: Black out poetry
Week 4 and 5: Stylist-icles
Week 6 and 8: Got it covered. Make your own magazine cover.
Week 9-10: Critical thinking comics
Week 11-12: The Sound of Violence a remix
Each task will be posted to Storify with a complete set of instructions, however you are free to modify
these as necessary. You can find the tasks at this link and use the embed code as specified above to
make the tasks accessible to the students via campus online.
Students should be instructed to share these creative summary tasks in the tutorial classes.
Tutors should select some student examples and use these to lead class discussions.
For ease of access I have instructed my students to pin their creative summaries to our class Pinterest
board, or store the task on their Google drive (or similar) and share a public link to the completed task
with the class via the student forum on Campus Online.
In a case where no students have completed the creative task or where such a task was impractical due
to other assessment also due for submission that week, tutors should keep in mind the following generic
set of questions to ask of their students to prompt discussion around the set readings:
What most struck me about the prescribed reading was .......
The idea that I most take issue with in the reading is ..........
The part of the reading that I felt made most sense to me was........
The part of the reading that I felt was most confusing was...............
If you find that the students are not engaging or failing to complete and share their creative summary
task in the tutorial, explore these (or other suitable comparisons with them and get them to identify the
challenges and advantages of completing the activity. Or get them to propose an alternative creative
approach to summarizing key concepts learnt in the online lecture and readings.
23
Reading list and textual resources

Please stress to students that these readings are essential. They must be read each week prior to class
and should be referred to by the lecturers and tutors in class discussions. A range of creative summary
tasks aimed to encourage creative self-directed reflection are also expected to be completed and where
possible, these tasks specify that students read the prescribed text.
Week
PRESCRIBED READINGS
Edgar, A., & Sedgwick, P. (2007). Postmodernism and Poststructuralism. In Cultural Theory: The
Key Concepts (pp. 256-266). London: Routledge.
Bennett, A. (2005). The mass culture debate. In Culture and Everyday Life (pp. 11-31). Sage.
Mandoki, K. (2012). Everyday Aesthetics (pp. 3-13). Ashgate Publishing, Ltd.

OR
Wel, F. V., Maarsingh, W., Bogt, T. T., & Raaijmakers, Q. (2008). Youth cultural styles: From snob
to pop? Young, 16(3), pp. 325340. doi:10.1177/110330880801600305
Huber, A. (2013). Mainstream as metaphor: imagining dominant culture. In A. Bennett, S. Baker

& J. Taylor (Eds). Redefining Mainstream Popular Music (pp. 3-13). London: Routledge.
Gelder, K. (2005). The field of subcultural studies. In K. Gelder (Ed.), The Subcultural Studies
Reader (pp. 1-15). London: Routledge.
OR
Gelder, K. (2007). Subcultures (pp. 83-106). Routledge.
6*
Taylor, J. (2012). Queer: Identities, theories and politics. In Playing it Queer: Popular Music,
Identity and Queer World-making (pp. 13-41). New York: Peter Lang Press.
8*
Attwood, F. (2009). The sexualisation of culture. In F. Attwood (Ed.), Mainstreaming Sex: The
Sexualization of Western Culture (pp. xiii-xxiv). London: I.B. Tauris.
Hall, S. (1997). Spectacle of the Other. In S. Hall (Ed.), Representation: Cultural Representations
and Signifying Practices (pp. 223-276).
OR
hooks, b. (2009). Eating the Other: Desire and resistance. In M.G. Durham & D.M. Kellner (Eds.),
Media and Cultural Studies (pp. 366-380). London: John Wiley & Sons.
10
Bell, D. (2006). Why cyberculture?. In Cyberculture Theorists (pp. 1-14). Routledge.
11
Vine, I. (2005). The dangerous psycho-logic of media effects. In M. Barker & J. Petley (Eds.), Ill
Effects: The Media Violence Debate (pp. 106-122). New York: Routledge.
12
Matrix, S. E. (2013). Cyber commerce and computerized subjectivity. In Digital Lifestyles and
Commodity Culture (pp. 25-60). New York: Routledge.
Dubai Variations to Readings

6. Click, M. A., Lee, H., & Holladay, H. W. (2013). Making Monsters: Lady Gaga, Fan Identification, and Social
Media. Popular Music and Society, 36(3), 360379. doi:10.1080/03007766.2013.798546
8. Taylor, P.,& Harris, J. (2007). The Culture of Celebrity. Critical Theories Of Mass Media: Then And Now. McGrawHill International.
24
Recommended Texts
The items on the lists of recommended texts have been selected as examples of general purpose media
and cultural studies texts that may be used to supplement student learning.
O'Shaughnessy, M. & Stadler, J. (2008). Media and Society (4th Ed). South Melbourne, Australia: Oxford
University Press.
Durham, M. G., & Kellner, D. M. (2009). Media and Cultural Studies. Malden, MA: John Wiley & Sons.
Edgar, A., & Sedgwick, P. (2007). Cultural Theory: The Key Concepts. London: Routledge.
Stokes, J. (2012). How to Do Media and Cultural Studies. London: Sage.
Ryan, M. (2010). Cultural Studies. Malden, MA: John Wiley & Sons.
Strinati, D. (2004). An Introduction to Theories of Popular Culture. London: Routledge.
Bennett, A. (2005). Culture and Everyday Life. London: Sage.
Pickering, M. (2008). Research Methods for Cultural Studies. Manchester: Edinburgh University Press.
Lecturers and tutors are expected to read the prescribed readings each week and refer to these in class.
They are also expected to engage with additional recommended texts for the purposes of clarifying
terminologies and situating weekly content in the broader context of media and cultural studies.
LEAD BY EXAMPLE: PLEASE DONT USE WIKI IN TUTORIAL MATERIALS WHEN WE HAVE SCHOLARLY
RESOURCES REDIALY AVAILABLE.
Digitized versions of all readings, recommended texts, plus many more titles that extend on the weekly
content, are available to tutors in the CIU 211 section of Curriculum Resources on the Google Drive.
These texts are also available to staff and students via the SAE Qantm library, eBrary or as ebooks on
the Brisbane Pinterest page. https://www.pinterest.com/drjodietaylor/media-cultural-studies/
eBooks and eBrary
The Brisbane campus librarian Mathew Fletcher, has provided a Pinterest repository of texts that will
assist students with learning and research. These text correspond to the lecture content covered in CIU
211 and 210. Please make your students aware of this as these texts are accessible to all students
nationally.
And dont forget to make sure your students are familiar with eBrary borrowing
http://library.saeaustralia.edu.au/resources/databases.html
Here is a link to the PDF guide for using ebrary at SAE:
http://library.saeaustralia.edu.au/downloads/ebrary.pdf
Free coursework eBooks for lecturers, tutors and students
Media Studies 101 is a free educational resources for media and cultural studies students in New Zealand,
Australia, and Pacifica. It is comprehensive and a highly recommended supplementary learning resource for
all tutors and students.
It is organised into four parts:
Part One: Reading Media Texts
Part Two: Culture and Contexts

25

Part Three: Production and Structures
Part Four: Audiences & Identity
This text is open under a Creative Commons NZ BY license. That means you are free to download a
copy, chop it up, rework it, rewrite sections, modify and change this text, as long as you acknowledge
the authors.
Understanding Media and Culture is another free educational resource for media and cultural studies
students. It features general media case study articles, each with a prescribed learning objective, set of key
takeaways and accompanied in class exercise a great resource of tutors!
Resources on Google Drive
A digitized prescribed reading list and content pack for students, staff and tutors (currently on
google drive and campus online):
https://drive.google.com/a/sae.edu/?tab=po#folders/0B0Pw13MG
N1nybk9ham9nd0FTTjg
Full text digitized publications library for staff only that

more than adequately covers all course content. This is
on in the CIU 211 folder under Curriculum Resources on
SAE Google Drive.\
Full text digitized publications library of pedagogical

literature for tutors and lecturers currently on goggle
drive:
Curriculum Resources - CIU 211 - CIU 201
https://drive.google.com/a/sae.edu/folderview?id=0B0Pw13MGN1
nyS0Nwb05zeDJyYkE&usp=sharing
Resources on Pinterest
A curated Pinterest site that contains a variety of

images, texts and other resources, organized into
categories that both directly and more broadly
correspond with the lecture topics. Additionally, the
Pinterest site provides resources that aid and support
the development of academic skills and learning enhancement. Accessible here:
http://www.pinterest.com/saebrisbane/
A range of videos content sourced from YouTube, Vimeo etc. that relates to the weekly lecture
topics (links to these resources are located under themed boards on Pinterest).
Additional online tutorials and lectures from Open Access educational sites such as iTunesU, Big
Think, RSA, TED and Kahn Academy (links to these resources are located under themed boards on
Pinterest).
A vast selection of links to free applications to assist and guide students towards improving their
research practice and creative production (located on Pinterest) e.g.
26
The boards shown here contain resources on weekly lecture topics for CIU 210 and 211 which you are
encouraged to draw on in your teaching. These are organised under general themes that relate to topics
covered in class. Please take the time to familiarise yourselves with what has been curated. Perhaps you
might like to create and share some boards of your own.
DONT FORGET TO MAKE STUDENTS AWARE OF THIS RESOURCE BY LINKING TO IT VIA CAMOUS ONLINE.
27
28
GENERAL RESOURCES BOARDS

FOR STUDENTS AND TEACHERS.
Please be sure to take a look at
thought all the resources that have
been curated for you. Content is
relevant for many SAE students and
staff, not just CIU 211.
RESOURCES FOR TEACHERS
29
How do I use Pinterest?

First, get an account at www.pinterest.com
Instructions on how to sign up can be found here. http://www.wikihow.com/Sign-Up-for-Pinterest
Currently, the curator of the Pinterest site is Jodie Taylor <j.taylor@sae.edu>. I am more than happy to
continue to moderate this site making sure that links remain operational and relevant. However, you are
all encouraged to create your own Pinterest resources and share them with colleagues and students.
Pinterest allows you to create your own account and invite Media & Cultural Studies to pin to your
board. Once I authorize your invitation your content board will appear on the SAE Qantm page.
You may also pin directly to the content boards on this page by messaging Media & Cultural Studies
within the Pinterest application and requesting an invitation to be added as a pinner.
Alternatively, if youd like more clarification or have specific questions about using these resources, you
should check out the collection of Pinterest instructional guides located here:
https://www.pinterest.com/saebrisbane/pinterest-for-educators/
Pinterest in the classroom

Edudemic (n.d.) The Teachers Guide To Pinterest. Retrieved:
http://www.edudemic.com/guides/the-teachers-guide-to-pinterest
Teach Thought Staff (2012). 37 Ways Teachers Can Use Pinterest In The
Classroom. Retrieved: http://www.teachthought.com/social-media/37ways-teachers-can-use-pinterest-in-the-classroom/
Pappas, C. (2013). The Pinterest Guide for Teachers.
Retrieved: http://elearningindustry.com/the-pinterest-guide-forteachers
Other ways to curate

Whatever method of content curation you choose, you are
encouraged to similarly create and share any resources you have
with the national teaching team
Justapost is social site which is one of the best Pinterest
alternatives that allows users to save all their favorite bits and
pieces instantly across the web in one separate place either its a
video, image or a web content. One of its best features of
Juxtapost is that you can color code your collections of content
and easily differentiate them.
Whether you decide to draw

from the current Pinterest
content or generate a content
board of your own, it is
essential that students be
regularly reminded about the
location and availability of
these resources.
We Heart It is an image based social networking site like Pinterest, it provides a wider range of facilities
than Pinterest. You can collect your favorite images here and share with your friends. Besides, it
provides you a browser button which you can use to save images to its stores directly, also it has its iOS
and Android mobile apps.
30
Pearltrees recently did a reboot and looks to be one of the most advanced tools you can add to your
curation toolkit. Theres a bit of a learning curve, but heres how it works: Your browser app lets you
pearl the page youre visiting. Connect your Twitter and Facebook accounts, then start organizing
interests into topic folders (pearltrees). Any other curator expert in your topic area might ask to team
up with you (and vice versa) to make your tree branches richer. You can share your pearls through
Twitter, Facebook, email or embed them in your own site. You can also share pearls with colleagues or
your own team. Curators, behold the potential of the pearl.
Scoop.it (tagline: share ideas that matter) ranks as one of the top content curation tools right now.
The service, which has both free and premium versions, styles itself as a series of online magazines
centered on niche topics. Pick a topic you feel knowledgeable or passionate about and start adding to
your collection: articles, blog posts, Twitter lists, videos and so on. Socialbrites Debra Askanse, for
example, has Scoop.it pages on Facebook and Twitter best practices.
Storify is becoming a favourite of bloggers, journalists and Tweeps who like its curated take on current
events. You can pull from blogs, Twitter, Facebook, YouTube, Flickr, Instagram and many other sources
and then export it to your WordPress, Tumblr or Posterous blog or share it on Twitter, Facebook or
Google Plus via social buttons.
Del icio us, the first social bookmarking site, is arguably the granddaddy of the curation movement. Now
that Yahoo! sold the service to YouTube co-founder Chad Hurley, theres wind in its sails again. Its
pretty simple: Find a valuable story or post, bookmark it and share it with the community. Your tags can
be used by you or anyone (if you select public rather than private). The collective body of knowledge on
any topic is simply staggering.
BagTheWeb helps users curate Web content through a different metaphor: Create a bag to collect,
publish and share any content from the Web. One interesting twist is that BagTheWeb enables users to
build networks of bags so that topic areas can be linked together to provide rich datasets about any
subject.
With Bundlr you can create topic pages with photos, videos, tweets and documents and then share
them with everyone. I havent used the service but it looks to be influenced by the Pinterest craze.
The above descriptions have been compiled and adapted form www.stensly.com and www.socialbrite.org
Multimodal teaching and digital curatorship

A curator is traditionally a keeper of collections, a content specialist
who is responsible for a collection and plays a role in the interpretation
of material. The term has been extended in recent years to include the
digital interaction with social media that includes compiling digital
images, web links and movie files.
Digital curation involves that collection and selection of digital assets.
Digital curatorship of learning materials should follow this approach
(adapted from the Digital Curation Centres approach to digital
curation):
In line with the

multimodal approach to
learning, such resources
should not be considered
as optional extras, but as
KEY student engagement
opportunities, which
provide depth and critical
articulation for content
that cannot necessarily be
Conceptualise
Consider the learning outcomes of the unit that you are creating digital collections for and develop a
blended learning engagement plan. Take into account websites, social media, publications among other
types of digital materials.
31
Create
Produce digital material - think about digitising your classroom materials in Prezi, an easy to use digital
presentation tool that allows you to translate your uni-modal power point presentations into multi
modal, dynamic and interactive presentations that can be embedded into or linked to from your
Campus Online space.
Go to: http://prezi.com and register for an account with your SAE email address, which will entitle you
to a free education account.
If you choose to create your own digital video content or Flash content, please make sure you contact
SAEs the Online Education Coordinator for the appropriate video introduction clip to accompany your
material and host the content on the secure, corporate SAE Vimeo site. www.vimeo.com
Access
Determine the level of accessibility you want to attach to your digital material - there are times where
you want to include the unlock features in Campus Online to determine when and why a student might
be able to access their material.
Appraise and Select
Consult with the mission statement of SAE Creative Media Institute and the learning outcomes for your
unit to determine what digital material is relevant and appropriate. There may also be legal guidelines in
place that will guide the decision to include material. For example, there are clear procedures in place to
guide the digitalisation of readings via the library. Please contact your local campus librarian for more
information in this regard.
Note: you must personally appraise any and all digital materials you choose to make available to
students, taking into account the quality of the material, any copyright laws that might prevent you from
placing the material within our secure Campus Online environment and the learning outcomes the
materials demonstrates.
Dispose
Discard any digital material that is not appropriate or of an inadequate standard.
Reappraise
Reevaluate all materials when preparing for a new trimester to ensure that is it still relevant, true to its
original form and that the links are still live.
Visual content and image libraries (free to use with attribution)

Freepik.com More than a million free vectors, PSD, photos and free icons. Exclusive freebies and all
graphic resources that you need for your projects.
Foto.com is an extensive, easy to use CC image repository which provides ready to paste attribution
information for use with the photographs.
Simple CC Flicker searches looks very basic but it has some clever tools including one to stamp a
discrete attribution on the photograph. Tick the box to show only images you can use. Please check the
type of CC license and its usage terms before downloading.
Pixabay Image provides free public domain images. Check the usage terms of CC license before
downloading.
32
Wikimedia Commons is a free media repository. Please check the type of CC license and its usage terms
before downloading.
Wikipedia : Public domain images lists a large number of sources for images which lists a number of
public domain images on the web. Users are responsible for checking copyright status of images before
using them.
Morgue File has free reference images. Please note that when a search is displayed, the tabs offering
alternatives to the free photos on Morgue File are not free.
Resources on YouTube
CIU TV on YouTube is a channel of supplementary video materials, which have been
especially curated for CIU 211 and 210 students. As you will notice, each weeks class has a
CIU TV playlist. I suggest embedding these playlists into the weekly lecture page under the
Classes tab within Campus Online.
To subscribe to the channel via YouTube go to https://www.youtube.com/user/DrJodieSAE and click
subscribe. Please feel free to contribute to these playlists. To upload videos to the CIU YouTube account
share the video via email then send the email to 3yf8tdi53ehd@m.youtube.com
33
CIU 211 Twitter Feed

A twitter account has been created at https://twitter.com/CIU_SAE
This is a great way to get the students conversing outside of class, increase their digital
literacy skills, provoke critical thought and converse about CIU related content topics across
campuses and local cohorts. Please follow this account and contribute to the conversation, encouraging
your students to do the same.
A twitter feed can be embedded into the front page of campus online via adding a new HTML block.
Please consult the Moodle help guide if you need to know how to do this.
Below I have provided instructions on creating a twitter account, which you can include in the resources
section of campus online.
Creating a Twitter Account
1. Go to http://twitter.com and find the sign up box, or go directly to https://twitter.com/signup
2. Enter your full name, email address, and a password.
3. Click Sign up for Twitter.
4. On the next page, you can select a username usernames are unique identifiers on Twitter. (For
example, the username of SAE Media & Cultural Studies is SAE_CIU so when you want to tweet
something to us you type @SAE_CIU.
5. Click Create My Account.
6. Twitter will send a confirmation email to the email address you entered. Click the link in that
email to confirm your email address and account.
34
APPENDIX
Storify Lecture Embed Codes for weeks 1-12
O week: Introduction to Blended Learning online lecture
<div class="storify"><iframe src="//storify.com/ciu211/introduction-to-blendedlearning/embed?border=false" width="100%" height="750" frameborder="no"
allowtransparency="true"></iframe><script src="//storify.com/ciu211/introduction-to-blendedlearning.js?border=false"></script><noscript>[<a href="//storify.com/ciu211/introduction-to-blendedlearning" target="_blank">View the story "Introduction to Blended Learning " on
Storify</a>]</noscript></div>
Week 1
<div class="storify"><iframe src="//storify.com/ciu211/week1/embed?border=false" width="100%"
height="750" frameborder="no" allowtransparency="true"></iframe><script
src="//storify.com/ciu211/week1.js?border=false"></script><noscript>[<a
href="//storify.com/ciu211/week1" target="_blank">View the story "Week 1 | Postmodernism: 'isms' and
'ologies' of cultural theory" on Storify</a>]</noscript></div>
Week 2
href="//storify.com/ciu211/week2" target="_blank">View the story " WEEK 2| Poststructuralism: 'isms'
and 'ologies' of cultural theory Part II." on Storify</a>]</noscript></div>
Week 3
href="//storify.com/ciu211/week3" target="_blank">View the story "Week 3 | Aesthetics" on
Week 4
href="//storify.com/ciu211/week4" target="_blank">View the story "Week 4 | The Mainstream" on
Week 5
href="//storify.com/ciu211/week5" target="_blank">View the story "Week 5 | Subculture: Theory and
style" on Storify</a>]</noscript></div>
Week 6
href="//storify.com/ciu211/week6" target="_blank">View the story "Week 6 | Gender, sexuality & media."
on Storify</a>]</noscript></div>
Week 6 Dubai Only
<div class="storify"><iframe src="//storify.com/ciu211/210-fandom/embed?border=false" width="100%"
src="//storify.com/ciu211/210-fandom.js?border=false"></script><noscript>[<a
35
href="//storify.com/ciu211/210-fandom" target="_blank">View the story "Week 10 | Audiences, Fans &

Fandoms" on Storify</a>]</noscript></div>
Week 8 Dubai Only
<div class="storify"><iframe src="//storify.com/ciu211/210-celebrity/embed?border=false" width="100%"
src="//storify.com/ciu211/210-celebrity.js?border=false"></script><noscript>[<a
href="//storify.com/ciu211/210-celebrity" target="_blank">View the story "Week 11 | Fame & Celebrity"
on Storify</a>]</noscript></div>
Week 8
href="//storify.com/ciu211/week8" target="_blank">View the story "Week 8 | Raunch Culture" on
Week 9
href="//storify.com/ciu211/week9" target="_blank">View the story "Week 9 |The West and its Others" on
Week 10
href="//storify.com/ciu211/week10" target="_blank">View the story "Week 10 | Posthumanism" on
Week 11
href="//storify.com/ciu211/week11" target="_blank">View the story "Week 11 | Violence" on
Week 12
href="//storify.com/ciu211/week12" target="_blank">View the story "Week 12 | Capitalism and Material
Culture" on Storify</a>]</noscript></div>
Creative Summary Task Embed Codes

Please create a page for each task under the weekly tasks tab in campus online.
Task 1 (weeks 1&2)
<div class="storify"><iframe src="//storify.com/ciu211/task1/embed?border=false" width="100%"
src="//storify.com/ciu211/task1.js?border=false"></script><noscript>[<a href="//storify.com/ciu211/task1"
target="_blank">View the story "Week 1 & 2 |Creative Summary Task 1" on Storify</a>]</noscript></div>
Task 2 (week3)
target="_blank">View the story "Week 3 | Creative Summary Task 2" on Storify</a>]</noscript></div>
36
Task 3 (weeks 4&5)

target="_blank">View the story "Week 4 & 5 | Creative Summary Task 3" on
Task 4 (weeks 6&8)
target="_blank">View the story "Week 6 & 8 | Creative Summary Task 4" on
Task 5 (week 9&10)
target="_blank">View the story "Week 9 | Creative Summary Task 5" on Storify</a>]</noscript></div>
Task 6 (week 11&12)
target="_blank">View the story "Week 11-12 | Creative Summary Task" on Storify</a>]</noscript></div>
Direct links to content for embedding into campus online

PINTEREST
To convert pinterest links into embed codes use this widget builder.
https://business.pinterest.com/en/widget-builder#do_embed_board
Simply copy and paste the link into the widget builder and it will generate a HTML code which you can
paste directly into a HTML Block
YouTube
Youtube embed codes can be generated by visiting the below links and selecting share followed by the
embed functions. /
O Week: Introduction to Blended Learning
Storify direct link/
https://storify.com/ciu211/introduction-to-blended-learning
WEEK 1. Postmodernism
Storify direct link
https://storify.com/ciu211/week1.html
Youtube playlist direct links
http://www.youtube.com/playlist?list=PL-of4HBxbY3gYcVYqHikKGNYaFLAIyu0Z
Pinterest resources direct links
https://www.pinterest.com/drjodietaylor/postmodernism/
WEEK 2. Poststructuralism
Storify Lecture Direct link
https://storify.com/ciu211/week2
Storify Creative Task Direct Link
https://storify.com/ciu211/task1
http://www.youtube.com/playlist?list=PL-of4HBxbY3guEanS5X3aQsH3T58X7YQ0
37

https://www.pinterest.com/drjodietaylor/ideas-discourse/
https://www.pinterest.com/drjodietaylor/power-privlidge/
WEEK 3. Aesthetics
Storify direct link
http://www.youtube.com/playlist?list=PL-of4HBxbY3jtTgoKdNxwrmRhfTAGwUkV
https://www.pinterest.com/drjodietaylor/aesthetics/
https://www.pinterest.com/drjodietaylor/ethics/
WEEK 4. Mainstream
Storify direct link
http://www.youtube.com/playlist?list=PL-of4HBxbY3h2lbyz_DRd5GOrx-T8Ut2G
https://www.pinterest.com/drjodietaylor/subculture-mainstream/
WEEK 5. Subculture
Storify direct link
http://www.youtube.com/playlist?list=PL-of4HBxbY3i7Awg5dd0xvasnHQOi8wtg
https://www.pinterest.com/drjodietaylor/subculture-mainstream/
WEEK 6: Sex, Gender Sexuality
Storify direct link
https://www.youtube.com/playlist?list=PL-of4HBxbY3iiWm5JKt7yVppXFycVYKOd
https://www.pinterest.com/drjodietaylor/gender-sexuality/
https://www.pinterest.com/drjodietaylor/feminism/
https://www.pinterest.com/drjodietaylor/bodies-as-text/
WEEK 6 Dubai Only: Audiences and Fandoms
Storify direct link
https://storify.com/ciu211/210-fandom
https://www.youtube.com/playlist?list=PL-of4HBxbY3gykthpHn55wjDiqSZfw58x
38

https://www.pinterest.com/drjodietaylor/fandom-audiences/
WEEK 7 Dubai Only: Fame and Celebrity
Storify Direct link
https://storify.com/ciu211/210-celebrity
https://www.youtube.com/playlist?list=PL-of4HBxbY3g34yD3GqcrQ7wpJyo5oVzj
https://www.pinterest.com/drjodietaylor/fame-celebrity/
WEEK 8: Raunch culture, censorship, porn etc.
Storify direct link
https://www.youtube.com/playlist?list=PL-of4HBxbY3giWQcmE3dKhQ_mHlLdWBTW
https://www.youtube.com/playlist?list=PL-of4HBxbY3jsEXoOLK9ZBXK9lj-3DKov
https://www.pinterest.com/drjodietaylor/raunch-culture/
https://www.pinterest.com/drjodietaylor/gender-sexuality/
WEEK 9: Race, globalisation etc,
Storify direct link
Storify Creative Task Direct link
https://www.youtube.com/playlist?list=PL-of4HBxbY3h7Fqr9v9gRCcFuqEA0av0I
https://www.pinterest.com/drjodietaylor/neo-imperialism-globalisation/
https://www.pinterest.com/drjodietaylor/race-ethnicity/
WEEK 10: Posthumanism
Storify direct link
https://www.youtube.com/playlist?list=PL-of4HBxbY3hfBI-sAFeQcWbXmFGZ0pKf
https://www.pinterest.com/drjodietaylor/posthumanism/
WEEK 11: Violence & horror
Storify direct link
https://www.youtube.com/playlist?list=PL-of4HBxbY3gWHchA37ndG4U1SpZOrFbr
https://www.pinterest.com/drjodietaylor/violence-horror/
WEEK 12: Cultural Economies, capital, materialism
Storify direct link
39

https://www.youtube.com/playlist?list=PL-of4HBxbY3hxcmjhq84OHtfPCjEj9EjF
https://www.pinterest.com/drjodietaylor/social-class/
https://www.pinterest.com/drjodietaylor/commodity-culture/
40

CIU 211 Teacher&#39;s Guide 15T2

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CIU 211 Teacher&#39;s Guide 15T2

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CIU 211

Logistics & Implementation

Curriculum quick view

LECTURES AND TUTORIALS

Blended learning learn at your own pace

ARE THERE FACE-TO-FACE LECTURES FOR THIS MODULE?

CONTENT PROVIDED TO LECTURERS AND TUTORS

Creative Summary Tasks

DUBAI VARIATIONS TO READINGS

Resources on Google Drive

HOW DO I USE PINTEREST?

Other ways to curate

National Module Coordinator

Dr Jodie Taylor j.taylor@sae.edu Brisbane

Local Module Coordinators

For Faculty Developing & Delivering Content

Logistics & Implementation

How do I staff these modules?

What class resources are required to run these modules?

Do I require a local Module Coordinator?

What time allocation do I give the local Module Coordinator.

I have an NMC at my campus, what can I do to support them?

LMC/NMC meetings and frequency

Curriculum quick view

Poststructuralism, deconstruction (discourse)

Aesthetics, beauty, ethics, high/low culture

The mainstream, taste and cultural appropriation

Subcultures, cultural capital, style, social distinction

Sex, genders, sexualities

Raunch culture, censorship, pornography

Globalisation, cosmopolitanism and cultural Imperialism

Posthumanism and cyber culture

Mediated violence: effects and aesthetics

Affluenza, material culture and commodity fetishism

A flexible approach to teaching this unit

3, 4, 5, 6, 7, 9, 10, 11, 12. In class time as negotiated with your tutor.

211.1 Dialectic inquiry rubric

Sources were not

Rigorous and highly

211.2 Interdisciplinary creative project

Project proposal submitted via campus online in week 6.

Planning and design:

Creative media product:

211.2 Interdisciplinary creative project rubric

The quality of written

The quality of written

Makes excellent use

Makes very good use

Makes good use of

The use of artistic

The project shows a

The project shows

Uses time well

Uses time well

Use of time has

Uses time poorly

211.3 Critical evaluation and self-reflection on the creative project

Submission Format Presentation of project, class discussion and documented self-reflection.

211.3 Critical evaluation and self-reflection of the creative project rubric

Has very good

Has good volume,

Does not have

Some clear reflection

Marking with Rubrics

CIU 211 Teacher's Guide 15T2

CIU 211 Teacher's Guide 15T2