There are three options for this unit

This unit is intended to provide students with hands-on experience as part of their undergraduate studies. Through project-based and work-integrated learning activities, this unit integrates academic and vocational knowledge in order to maximise students’ employability. In order to fulfil the requirements of this unit, students undertake a 45 hour (minimum) Internship/PACE activity working under supervision. Students choose from 3 options for this unit. Option 1 involves student-initiated placements; students can source their own Internship/PACE activity and propose this to the University for approval. Option 2 features University assisted placements; the University can assist students with opportunities. Option 3 involves PACE partners being invited onto campus to work with student groups on a project the group(s) have been assigned by the partner organisation(s). 

You will be emailed a preference form to complete that will require you to indicate which of these options you would like to pursue. 

Please note that due to various workplace conditions and/or contexts, early (pre-session) commencement may be required.

 

MAS350 Media Internship - Frequently Asked Questions (FAQ)

1. Do we have to find our own placement? Please read the unit description outline above. There are three options for this unit. 

2. How many hours do we have to work?

45 hours minimum during the timeframe of S1. Please note that this is a minimum requirement and that you can do more than this if you would like. 

3. How do we split the hours (i.e. two hours a week or a day a week etc)?

You can negotiate that with your host organisation and their requirements.

4. What is deadline for handing in the Student Proposal Form?

By the end of Week 5 – ie. 31st March. 

5. How do we select which of the options we would like to pursue in the unit?

You will provide this information by completing the online preference form.  All enrolled students (who have not already confirmed a placement) will be sent a link to this form prior to the start of session.

6. When is my preference form due?

 By the end of week 2 – ie. Friday 10^th March.

7. Can I change my preference?

You have until end of Week 3 to change your preference – ie. By 17^th March.  This might happen if you initially choose to be assisted by the University in finding a placement but you subsequently find your own. Please contact the Arts PACE office to let them know ASAP: arts.pace@mq.edu.au

8. What if my internship doesn’t work out?

This could happen due to a restructure of the organisation, or a change in supervisor, if you find that you aren’t learning anything, or if there are human resource issues. Your convenor should be alerted to these issues in advance so that the problems can either be resolved or an alternative sought. But please make sure you discuss any potential issues with your convenor and also suggest that the supervisor makes contact too. We will help you find a second placement where you can do the balance of the hours.

9. How is my internship assessed? Does my supervisor have a role in how I am assessed?

There are three assessment tasks. Look at the unit guide (see above) or iLearn for assessment task details.

Your supervisor will be invited to provide the PACE office with feedback at the end of the placement but this will not impact on your final grade.

10. What happens if I haven’t completed my placement by the end of the semester?

Your final essay must be handed in on the due date even if you haven’t completed the hours, and you are still required to complete the hours in order to pass.

If you are finding it difficult to complete the hours, please contact the convenor as early as possible to find a solution.

11. Can my internship be a paid position?

Yes, you will just need to disclose this in the proposal form.

12. Am I covered by insurance for my internship?

Yes. If you are officially enrolled in the unit and you are undertaking the internship in the timeframe in which the unit runs. But remember, the insurance ends when your official internship is over so if you are considering staying on in an unpaid capacity, your employer is responsible for your insurance. Please ensure that you complete your hours during the timeframe of the semester in which you are enrolled. Your host organisation may ask for proof of your insurance coverage, please contact arts.pace@mq.edu.au and ask to be sent the certificates of currency for your MAS350 internship.

 

Assignment submission

• Please note that while late submissions for this unit are permitted, a 10% penalty per day will apply for late submissions.

Electronic Submissions

Assignments for this unit will be submitted online via the Turn It In/Grademark software that can be accessed through the MAS350 iLearn unit.

To submit an assignment:

1. Go to the MAS350 iLearn site.

2. Click on the relevant Turn It In assignment name.

3. Click on the Submit Paper tab.

4. Select Student Name.

5. Enter a Submission Title.

6. Select Submission Part if there are multiple parts available.

7. Click Browse and select the file you would like to submit.

8. Click Add Submission.

 

Examination

There is no examination for this unit.

 

Extensions and Disruptions to Studies

Please refer to the following webpage for policy information relating to Disruptions to Studies: http://students.mq.edu.au/student_admin/exams/disruption_to_studies/

 

Required and recommended texts and/or materials

 

READING LIST

The following readings are electronically available via the library’s e-reserve.

Creativity lies at the core of my assessment design for MAS350 Media Internship. Ultimately I believe that students such as yourself should be educated in ways that will enable you to adapt to change and be creative in generating new ideas. To this end, the assessment tasks are designed to cultivate the immense diversity of undergraduate media students’ talents and interests, and to dissolve the divisions between academic, peer-reviewed research, and vocational work-integrated learning activities.

My ultimate focus in terms of educational design is to use design thinking to consider how we can best engage your hunger for learning. Through my various experiences of applying this approach, I have come to believe that the best conditions for intrinsically motivating students to learn involve enabling you to select your own pathway through a large range of topics. Therefore this reading list is designed to be used in a non-chronological way. These topics are not designed to be understood week-by-week, but to spark the intrinsic motivation that you will need to achieve a certain depth of learning across the semester: it is up to you to pick any two topics* to engage with throughout the unit.

*Please note that you are not limited to these topics.

 

TOPIC A: Employability 2.0

Reading a:

Robinson, K (2011) ‘Out of our minds’ in Out of our minds: Learning to be creative, UK: Capstone, pp.1-18.

 

Reading b:

Robinson, K (2015) ‘Changing metaphors’ in Creative schools: The grassroots revolution that’s transforming education, New York: Penguin Books, pp.26-53.

 

Reading c:

Bennett and Burnard (2016) ‘Human capital career creativities for creative industries work: Lessons underpinned by Bourdieu’s tools for thinking’ in Comunian, R and Gilmore, A (Eds.), Higher education and the creative economy, London: Routledge.

 

Reading d:

Bridgstock, R. (2009) ‘The graduate attributes we’ve overlooked: enhancing graduate employability through career management skills.’ Higher Education Research & Development, 28(1), pp.31-44.

 

Reading e:

Ferns, S and Lilly, L (2016) ‘Driving institutional engagement in WIL: Enhancing graduate employability’, Journal of Teaching and Learning for Graduate Employability, 6(1), p.116.

 

Reading f:

Aida, B Norailis, A and Rozaini, R (2015) ‘Critical success factor of graduate employability programs’, Journal of Economics, Business and Management, 3(8), pp.767-771.

 

Reading g:

Oliver, B (2015) ‘Redefining graduate employability and work-integrated learning: Proposals for effective higher education in disrupted economies’, Journal of Teaching and Learning for Graduate Employability, 6(1), p.56.

 

Reading h:

Brown, P, Hesketh, A and Williams, S (2003) ‘Employability in a knowledge-driven economy’, Journal of Education and Work, 16(2), pp.107-126.

 

Graduate Employability 2.0

http://www.graduateemployability2-0.com/

 

TOPIC B: Imagination, Creativity and Innovation

 

Reading a:

Csikszentmihalyi, M (1997) ‘Where is creativity?’ in Creativity: Flow and the Psychology of Discovery and Invention, New York: Harper Perennial, pp. 23-50.

 

Reading b:

Csikszentmihalyi, M (1999) ‘Implications of a systems perspective for the study of creativity’, in Sternberg, R (Ed.), Handbook of Creativity, Cambridge and New York: Cambridge University Press, pp. 313-335.

 

Reading c:

Kelley, T and Kelley, D (2013) ‘The heart of innovation’ in Creative confidence. 1st ed. New York: Crown Publishing Group, pp. 1-12.

 

Reading d:

Kelley, T (2001) ‘Innovation at the top’ in The Art of Innovation: Lessons in Creativity from IDEO, America's Leading Design Firm, New York: Random House, pp. 1-14.

 

Reading e:

Jaussi, K and Randel, A (2014) ‘Where to look? Creative self-efficacy, knowledge retrieval, and incremental and radical creativity’, Creativity Research Journal, 26(4), pp. 400-410.

 

Reading f:

Kaufman, J and Baer, J (2012) ‘Beyond new and appropriate: Who decides what is creative?’, Creativity Research Journal, 24(1), pp. 83-91.

 

Reading g:

Negus, K and Pickering, M (2000) ‘Creativity and cultural production’, International Journal of Cultural Policy, 6(2), pp. 259-282.

 

Reading h:

Weisberg, R (2006) ‘Two case studies in creativity’ in Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts, Hoboken: John Wiley and Sons.

 

TOPIC C: Idea Generation

 

Reading a:

Sawyer, R (2012) ‘The creative process: Part 1’ in Explaining creativity: The Science of Human Innovation. 2nd ed. Oxford: Oxford University Press, pp. 87-106.

 

Reading b:

Sawyer, R (2007) ‘Collaboration over time’ in Group genius. 1st ed. New York: Basic Books, pp. 99-126.

 

Reading c:

Paulus, B and Brown, V (2003) ‘Enhancing ideational creativity in groups: Lessons from research on brainstorming’ in Group Creativity: Innovation Through Collaboration, Oxford University Press: Oxford, pp. 110-136.

 

Reading d:

Sullivan, G (2012). ‘Artistic cognition and creativity’ in Biggs, M and Karlsson, H (Eds.), The Routledge Companion to Research in the Arts, London and New York: Routledge, pp. 99-119.

 

Reading e:

Janis, I (1982) ‘The groupthink syndrome’ in Groupthink, (2nd ed.), Boston: Houghton Mifflin Company, pp. 174-197.

 

Reading f:

Pink, D (2006) ‘Right brain rising’ in A whole new mind. 1st ed. New York: Riverhead Books, pp. 7-27.

 

Reading g:

Heath, C and Heath, D (2007) ‘Simple’ in Made to stick: Why some ideas survive and others die. 1st ed. New York: Random House, pp. 25-62.

 

Reading h:

Sawyer, K (2013) ‘Introduction: Choosing creativity’ in Zig zag. 1st ed. San Francisco, Calif.: Jossey-Bass, pp. 1-18.

 

Zig Zag: The Surprising Path to Greater Creativity

http://www.zigzagcreate.com/

 

TOPIC D: Collaboration

 

Reading a:

Catmull, E (2008) ‘How Pixar fosters collective creativity’, Harvard Business Review, September.

 

Reading b:

Catmull, E (2014) ‘Honesty and candor’ in Creativity, Inc. 1st ed. New York: Random House, pp. 85-105.

 

Reading c:

Sawyer, K and DeZutter, S (2009) ‘Distributed creativity: How collective creations emerge from collaboration’, Psychology of Aesthetics, Creativity, and the Arts, 3(2), 81-92.

 

Reading d:

Sawyer, K(2000) ‘Improvisational cultures: Collaborative emergence and creativity in improvisation’, Mind, Culture, and Activity, 7(3), 180-185.

 

Reading e:

Kolb, A (2011) ‘On the politics of interdisciplinary collaboration’, Brogla, 35, 27-36.

 

Reading f:

Abra, J (1994) ‘Collaboration in creative work: An initiative for investigation’, Creativity Research Journal, 7(1), 1-20.

 

Reading g:

Sawyer, K (1999) ‘The emergence of creativity’, Philosophical Psychology, 19(4), pp. 447-469.

 

Pixar

http://www.pixar.com/

 

TOPIC E: Conflict in Group Creativity

 

Reading a:

Kurtzberg, T and Teresa Amabile, T (2001) ‘From Guilford to creative synergy: Opening the black box of team-level creativity’, Creativity Research Journal, 13(3-4), pp. 285-294.

 

Reading b:

Kurtzberg, T (2005) ‘Feeling creative, being creative: An empirical study of diversity and creativity in teams’, Creativity Research Journal, 17(1), pp. 51-65.

 

Reading c:

Badke-Schaub, P, Goldschmidt, G and Meijer, M (2010) ‘How does cognitive conflict in design teams support the development of creative ideas?’, Creativity and Innovation Management, 19(2), pp. 119-133.

 

Reading d:

Nemeth, C, Personnaz, B, Personnaz, M and Goncalo, J (2004) ‘The liberating role of conflict in group creativity: A study in two countries’, European Journal of Social Psychology, 34(4), pp. 365-374.

 

Reading e:

Kurtzberg, T and Mueller, J (2005) ‘The influence of daily conflict on perceptions of  creativity: A longitudinal study’, International Journal of Conflict Management, 16(4), pp. 335-353.

 

Reading f:

Nemeth, C and Nemeth-Brown, B (2003) ‘Better than individuals? The potential benefits of dissent and diversity for group creativity’, in Paulus, P and Nijstad, B (Eds.), Group Creativity: Innovation Through Collaboration, Oxford: Oxford University Press, pp. 63-84.

 

Reading g:

Paletz, S, Schunn, C and Kim, K (2011) ‘Intragroup conflict under the microscope: Micro-conflicts in naturalistic team discussion’, Negotiation and Conflict Management Research, 4(4), pp. 314-351.

 

Reading h:

Troyer, L and Youngreen, R (2009) ‘Conflict and creativity in groups’, Journal of Social   Issues, 65(2), pp. 409-427.

 

TOPIC F: Mindfulness, Emotional Resilience and Wellbeing

 

Reading a:

Seligman, M (2011) ‘What is well-being?’ in Flourish. 1st ed. New York: Free Press.

 

Reading b:

Horan, R (2009) ‘The neuropsychological connection between creativity and meditation’, Creativity Research Journal, 21(2-3), pp.199-222.

 

Reading c:

McGonigal, K (2015) ‘How to change your mind about stress’ in The Upside of Stress. New York: Random House.

 

Reading d:

Horan, R (2007) ‘The relationship between creativity and intelligence: A combined Yogic-Scientific approach’, Creativity Research Journal, 19(2-3), pp.179-202.

 

Reading e:

Loehr, J and Schwartz, T (2001) ‘The making of a corporate athlete’, Harvard Business Review, January.

 

Reading f:

Andy Puddicombe (2011) ‘The approach’ in Get Some Headspace, Great Britain: Hodder and Stoughton.

 

Reading g:

Papinczak, Z, Dingle, G, Stoyanov, S, Hides, L and Zelenko, O (2015) ‘Young people’s uses of music for well-being’, Journal Of Youth Studies, 18(9).

 

Reading h:

Edelman, S (2002) ‘Cognitive Behaviour Therapy (CBT)’ in Change Your Thinking: Positive Ways to Overcome Stress, Negative Emotions and Self-Defeating Behaviour Using CBT, Sydney: ABC Books, pp. 3-15.

 

Martin Seligman: The new era of positive psychology

https://www.ted.com/talks/martin_seligman_on_the_state_of_psychology

 

Kelly McGonigal: How to make stress your friend

https://www.ted.com/talks/kelly_mcgonigal_how_to_make_stress_your_friend?language=en

 

Andy Puddicombe: All it takes is 10 mindful minutes

https://www.ted.com/talks/andy_puddicombe_all_it_takes_is_10_mindful_minutes?language=en

 

Smiling Mind App:

https://smilingmind.com.au

 

Dr Sam Harvey - Exercise and mental health

https://www.youtube.com/watch?v=8ivfcDU_u8o

 

TOPIC G: Startups and Agile Project Management

 

Reading a:

Highsmith, J (2010) ‘The Agile Revolution’ in Agile Project Management: Creating Innovative Products. 2nd ed., Upper Saddle River, New Jersey: Addison Wesley.  

Reading b:

Ries, E (2011) ‘Introduction’ in The Lean Startup. New York: Crown Business, pp-1-14.

 

Reading c:

Saras Sarasvathy (2008) ‘Understanding effectuation: Dynamics of the effectual process’ in Effectuation: Elements of Entrepreneurial Expertise. Edward Elgar: Cheltenham, pp. 96-121.

 

Reading d:

Hughes, D, Evans, M, Morrow, G and Keith, S (2016) ‘Standing out in the crowd’ in The New Music Industries: Disruption and Discovery, Palgrave Macmillan: Basingstoke, pp. 37-62.

 

Reading e:

Kawasaki, G (2015) ‘The art of starting up’ in The Art of the Start 2.0, Penguin: New York.

 

Reading f:

Blank, S and Dorf, B (2012) ‘The path to disaster’ in The Startup Owner’s Manual: A Step-By-Step Guide for Building a Great Company. Pescadero, CA: K&S Ranch.

 

Reading g:            

Blank, S (2013) ‘Why the lean startup changes everything. Harvard Business Review, May. https://hbr.org/2013/05/ why-the-lean-start-up-changes-everything

                

Reading h:

Osterwalder, A and Pigneur, Y (2010) ‘Definition of a business model’ in Business Model Generation, John Wiley and Sons: New Jersey, pp. 14-35.

 

The Lean Startup: The Movement That is Transforming How New Products Are Built and Launched

http://theleanstartup.com/

 

TOPIC H: Workplace Design and Environmental Psychology

 

Reading a:

Schmidt, E, Rosenberg, J and Eagle, A (2014) ‘Introduction: Lessons learned from the front row’ in How Google works. 1st ed. London: John Murray.

 

Reading b:

Moskaliuk, J., Burmeister, C., Landkammer, F., Renner, B. and Cress, U (2017) ‘Environmental effects on cognition and decision making of knowledge workers.’ Journal of Environmental Psychology, 49, pp.43-54.

 

Reading c:

Lõun, K, Lavin, J, Riives, J and Otto, T (2013) ‘High performance workplace design model.’ Estonian Journal of Engineering, 19(1), p.47.

 

Reading d:

Brown, G and Zhu, H (2016) ‘‘My workspace, not yours’: The impact of psychological ownership and territoriality in organizations.’ Journal of Environmental Psychology, 48, pp.54-64.

 

Reading e:

Gou, Z. and Siu‐Yu Lau, S (2012) ‘Sick building syndrome in open‐plan offices.’ Journal of Facilities Management, 10(4), pp.256-265.

 

Reading f:

Waber, B (2013) ‘The water cooler effect’ in People Analytics. 1st ed. Upper Saddle River, N.J.: FT Press.

 

Reading g:

Shernoff, D, Sannella, A, Schorr, R, Sanchez-Wall, L, Ruzek, E, Sinha, S and Bressler, D (2017) ‘Separate worlds: The influence of seating location on student engagement, classroom experience, and performance in the large university lecture hall.’ Journal of Environmental Psychology, 49, pp.55-64.

 

Puzzle Partners

http://www.puzzlepartners.com.au/

 

Make Space: The Book

http://dschool.stanford.edu/makespace/

 

TOPIC I: Creative Labour

 

Reading a:

Hesmondhalgh, D and Baker, S (2011) ‘Introduction: Can creative labour be good work?’ in Creative Labour: Media Work in Three Cultural Industries, Routledge: Milton Park.

 

Reading b:

McGuigan, J (2010) ‘Creative labour, cultural work and individualisation’, International Journal of Cultural Policy, 16(3), pp. 323-335.

 

Reading c:

Hughes, D, Evans, M, Morrow, G and Keith, S (2016) ‘Realities of practice’ in The New Music Industries: Disruption and Discovery, Palgrave Macmillan: Basingstoke, pp. 81-96.

 

Reading d:

Coles, A (2015) ‘Creative class politics: Unions and the creative economy’, International Journal of Cultural Policy, 22(3), pp.1-17.

 

Reading e:

McDougall, J (2015) ‘Open to disruption: education ‘either/and’ media practice’, Journal of Media Practice, 16(1).

 

Reading f:

Cloonan, M (2014) ‘Musicians as workers: Putting the UK musicians’ union into context’, MusiCultures, 41(1), pp. 10–29.

                

Reading g:

Stahl, M (2013) ‘Introduction: Popular music and (creative) labour’ in Unfree Masters: Recording Artists and the Politics of Work. Durham, NC/London, UK: Duke University Press, pp. 1-32.

 

Media and Cultural Work                 

http://mediaculturalwork.org/

 

TOPIC J: Design Thinking

 

Reading a:

Brown, T (2009) ‘The power of design thinking’ in Change by Design. 1st ed. New York, N.Y.: Harper Business, pp. 1-12.

 

Reading b:

Lockwood, T (2009) ‘Notes on the evolution of design thinking: A work in progress’ in Design Thinking: Integrating Innovation, Customer Experience, and Brand Value, Allworth Press: New York.

 

Reading c:

Goldschmidt, G (2016) Linkographic evidence for concurrent divergent and convergent thinking in creative design. Creativity Research Journal, 28(2), pp.115-122.

 

Reading d:

Fu, Y and Liu, G (2015). A framework of design thinking: illustrated by an empirical case of prototype innovation. International Journal of Design Engineering, 6(1), p.45.

 

Reading e:

Ligon, J and Fong, M (2011) ‘Transforming design thinking into collaborative innovation: Meeting the emerging needs and demands of a complex world through design thinking and collaborative innovation.’ Iridescent, 1(2), pp.40-46.

 

Reading f:

Liedtka, J (2014) ‘Perspective: Linking design thinking with innovation outcomes through cognitive bias reduction.’ Journal of Product Innovation Management, 32(6), pp.925-938.

 

Reading g:

Camacho, M (2016) ‘David Kelley: From design to design thinking at Stanford and IDEO.’ She Ji: The Journal of Design, Economics, and Innovation, 2(1), pp.88-101.

 

IDEO

https://www.ideo.com/

 

TOPIC K: Social Media and Journalism

 

Reading a:

Bastos, M (2015) ‘Shares, pins, and tweets.’ Journalism Studies, 16(3).

 

Reading b:

Rogstad, I (2014) ‘Political news journalists in social media.’ Journalism Practice, 8(6).

 

Reading c:

Paulussen, S and Harder, R (2014) ‘Social media references in newspapers.’ Journalism Practice, 8(5).

 

Reading d:

Ahmad, A (2010) ‘Is Twitter a useful tool for journalists?’ Journal of Media Practice, 11(2).

 

Reading e:

Hermida, A (2010) ‘Twittering the news.’ Journalism Practice, 4(3).

 

Reading f:

Schifferes, S, Newman, N, Thurman, N, Corney, D, Göker, A, Martin, C (2014) ‘Identifying and verifying news through social media.’ Digital Journalism, 2(3).

 

Reading g:

Ibrahim, Y (2015) ‘Instagramming life: banal imaging and the poetics of the everyday.’ Journal of Media Practice, 16(1).

 

Reading h:

Gibbs, M, Meese, J, Arnold, M, Nansen, B and Carter, M (2015) ‘#Funeral and Instagram: death, social media, and platform vernacular.’ Information, Communication & Society, 18(3).

 

TOPIC L: The Control of Information

 

Reading a:

Robinson, L (2016) ‘Collective memory: September 11th now and then.’ Information, Communication & Society, 20(3), pp.319-334.

 

Reading b:

Silvestri, L (2014) ‘Shiny happy people holding guns: 21st-Century images of war.’ Visual Communication Quarterly, 21(2).

 

Reading c:

Olszanowski, M (2014) ‘Feminist self-imaging and Instagram: Tactics of circumventing censorship.’ Visual Communication Quarterly, 21(2).

 

Reading d:

Humphreys, L and Wilken, R (2015) ‘Social media, small businesses, and the control of information.’ Information, Communication & Society, 18(3).

 

Reading e:

Thornton, L (2014) ‘The photo is live at applifam: An Instagram community grapples with how images should be used.’ Visual Communication Quarterly, 21(2).

 

Reading f:

Ekstrand, V and Silver, D (2014) ‘Remixing, reposting, and reblogging: Digital media, theories of the image, and copyright law.’ Visual Communication Quarterly, 21(2).

 

Reading g:

Czerniewicz, L, Goodier, S and Morrell, R (2016) ‘Southern knowledge online? Climate change research discoverability and communication practices.’ Information, Communication & Society, 20(3), pp.386-405.

 

TOPIC M: Videogames: Thinking with Games, Cloning Games, and Regulating Games

 

Reading a:

Phillips, T (2015) ‘“Don’t clone my indie game, bro”: Informal cultures of videogame regulation in the independent sector.’ Cultural Trends, 24(2).

 

Reading b:

Yousafzai, S, Hussain, Z and Griffiths, M (2014) ‘Social responsibility in online videogaming: What should the videogame industry do?’ Addiction Research & Theory, 22(3).

 

Reading c:

Goodbrey, D (2015) ‘Game comics: an analysis of an emergent hybrid form.’ Journal of Graphic Novels and Comics, 6(1).

 

Reading d:

Krcmar, M and Lachlan, K (2009) ‘Aggressive outcomes and videogame play: The role of length of play and the mechanisms at work.’ Media Psychology, 12(3).

 

Reading e:

Adams, E (2006) ‘Will computer games ever be a legitimate art form?’ Journal of Media Practice, 7(1).

 

Reading f:

Ashton, D (2009) ‘Thinking with games: exploring digital gaming imaginaries and values in higher education.’ Journal of Media Practice, 10(1).

 

TOPIC N: The Future of Journalism

 

Reading a:

Franklin, B (2014) ‘The future of journalism.’ Journalism Practice, 8(5).

 

Reading b:

Picard, R (2014) ‘Twilight or new dawn of journalism?’ Journalism Practice, 8(5).

 

Reading c:

Clerwall, C (2014) ‘Enter the robot journalist.’ Journalism Practice, 8(5).

 

Reading d:

Lewis, S , Kaufhold, K and Lasorsa, D (2010) ‘Thinking about citizen journalism.’ Journalism Practice, 4(2).

 

Reading e:

Domingo, D, Quandt, T, Heinonen, A, Paulussen, S, Singer, J, Vujnovic, M (2008) ‘Participatory journalism practices in the media and beyond.’ Journalism Practice, 2(3).

 

Reading f:

Hopper, M and Huxford, J (2015) ‘Gathering emotion: examining newspaper journalists’ engagement in emotional labor.’ Journal of Media Practice, 16(1).

 

Reading g:

Tandoc, E and Vos, T (2015) ‘The journalist is marketing the news.’ Journalism Practice, 10(8), pp.950-966.

 

TOPIC O: Fashion Media

 

Reading a:

Rocamora, A (2016) ‘Mediatization and Digital Media in the Field of Fashion.’ Fashion Theory, pp.1-18.

 

Reading b:

Rocamora, A (2012) ‘Hypertextuality and remediation in the fashion media.’ Journalism Practice, 6(1).

 

Reading c:

Engholm, I and Hansen-Hansen, E (2014) ‘The fashion blog as genre—between user-driven bricolage design and the reproduction of established fashion system.’ Digital Creativity, 25(2).

 

Reading d:

Halvorsen, K, Hoffmann, J, Coste-Manière, I and Stankeviciute, R (2013) ‘Can fashion blogs function as a marketing tool to influence consumer behavior? Evidence from Norway.’ Journal of Global Fashion Marketing, 4(3).

 

Reading e:

Chittenden, T (2010) ‘Digital dressing up: modelling female teen identity in the discursive spaces of the fashion blogosphere.’ Journal of Youth Studies, 13(4).

 

Reading f:

Pan, Y, Roedl, D, Blevis, E and Thomas, J (2015) ‘Fashion Thinking: Fashion Practices and Sustainable Interaction Design.’ International Journal of Design. 9(1).

 

Reading g:

Kim, A and Ko, E (2010) ‘Impacts of luxury fashion brand’s social media marketing on customer relationship and purchase intention.’ Journal of Global Fashion Marketing, 1(3), pp.164-171.

 

TOPIC P: Creative Entrepreneurship and Higher Education

 

Reading a:

Beckman, G (2007) ‘‘Adventuring’ arts entrepreneurship curricula in higher education: An examination of present efforts, obstacles, and best practices.’ The Journal of Arts Management, Law, and Society, 37(2), pp.87–112

 

Reading b:

Bridgstock, R (2012) ‘Not a dirty word: Arts entrepreneurship and higher education’, Arts & Humanities in Higher Education, 12(2–3), p.122–137.

 

Reading c:

Cope, J (2005) ‘Toward a dynamic learning perspective of entrepreneurship’. Entrepreneurship: Theory and Practice, 29(4), p.373+.

 

Reading d:

Brindle, M (2011) ‘Careers and internships in arts management’ in The Arts Management Handbook: New Directions for Students and Practitioners. New

York, M.E. Sharpe, pp.185–216.

 

Reading e:

Dhliwayo, S (2008) ‘Experiential learning in entrepreneurship education.’ Education + Training, 50 (4), pp.329–340.

 

Reading f:

Rasmussen, E and Borch, O (2010) ‘University capabilities in facilitating entrepreneurship: A longitudinal study of spin-off ventures at mid-range universities.’ Research Policy, 39(5), pp.602–612.

 

TOPIC Q: Internships and the Individual

 

Reading a:

Hanson, J (1984) ‘Internships and the individual: Suggestions for implementing (or improving) an internship program.’ Communication Education, 33(1), pp.53–61.

 

Reading b:

Wong, A (2011) ‘How is the internship going anyways? An action research approach to understanding the triad relationship between interns, mentors, and field advisors.’ Educational Action Research, 19(4), pp.517–529.

 

Reading c:

Daniel, R (2010) ‘Career development and creative arts students: An investigation into the effectiveness of career theory and WIL experiences on practice.’ Australian Journal of Career Development, 19(2), pp.14–22.

 

Reading d:

Daniel, R and Daniel, L (2013) ‘Enhancing the transition from study to work: Reflections on the value and impact of internships in the creative and performing arts.’ Arts and Humanities in Higher Education, 12(2-3), pp.138-153.

 

Reading e:

Carneiro, M (2013) ‘University-employment transitions in international Performing Arts: The intern’s story.’ Arts and Humanities in Higher Education, 12(2-3), pp.154-160.

 

Reading f:

Jackson, D (2015) ‘Career choice status among undergraduates and the influence of work-integrated learning.’ Australian Journal of Career Development, 24(1), pp.3-14.

 

TOPIC R: Community Video Production & Documentary Filmmaking

 

Reading a:

Barbash, I and Castaing-Taylor, L (1997) ‘Chapter 2: From Fieldwork to Filming’ in Cross-Cultural Filmmaking: A Handbook for Making Documentary and Ethnographic Films and Videos. Berkeley: University of California Press.

 

Reading b:  

Chávez, V, Israel, B, Allen, A, DeCarlo, M, Lichtenstein, R, Schulz, A, Bayer, I, McGranaghan, R (2004) ‘A Bridge between Communities: Video-Making Using Principles of Community-Based Participatory Research.’ Health Promotion Practice, 5(4), pp. 395-403.

 

Reading c:

Nichols, B (2010) ‘Chapter 1: Why Are Ethical Issues Central to Documentary Filmmaking?’ in Introduction to Documentary. Bloomington: Indiana University Press, pp. 1-19.

 

Reading d:

Bernard, S (2007) ‘Documentary storytelling’ in Documentary storytelling: Making Stronger and More Dramatic Nonfiction Films. Amsterdam: Focal Press. pp. 137-174.

 

Reading e:

Das, Trisha (2009) ‘How to Write a Documentary Script’. Unesco.  Page 1 of 52.

 

360° Storytelling: A Case Study

https://vimeo.com/9751007

 

 

 

Unit webpage and technology used and required

 

Online units can be accessed at: http://ilearn.mq.edu.au/.

 

PC and Internet access are required. Basic computer skills (e.g., internet browsing) and skills in word processing are also a requirement.

 

Please consult teaching staff for any further, more specific requirements. 

 

This unit features an optional weekly seminar from 9am to 11am on Tuesdays throughout the semester. Please come along to the first seminar at 9am on Tuesday February 28 (Week 1). We will be meeting in room C5C 209 and will then be moving to the MUSE building to work in smaller groups. 

We will use the 2-hour seminar to run a weekly session that functions like a design/production/advertising/PR agency that will be of service to the University as well as to our external PACE partners. This ‘agency’ will have a variety of clients and will feature a variety of project-based learning activities relating to Community Video Production, educational media production for flipped units, projects relating to MQ sustainability, freelance artists, and the startup companies that are located in the University's Pop Up Incubator, for example. While all students enrolled in the unit are welcome to attend these seminars to ask questions regarding any aspect of the unit, for the students who choose option 3 (working in groups on campus for PACE partners), these seminars will double as your PACE activity for the unit.  

In addition, in terms of peer-reviewed research, the content that will be woven into these ‘sessions’ will concern core topic areas available on the unit around creativity research, collaboration, idea generation and employability. The seminars will also be used to guide students through the assessment tasks. If you have any questions about the tasks, please come along and ask them. 

For more information about the Pop-up Incubator we will be visiting at Macquarie University, see: http://www.mq.edu.au/about/events/view/pop-up-incubator-for-students-staff-and-researchers/