1. Kim Fox
The American University of CairoThe American University of Cairo
BEA IGNITEBEA IGNITE
The Twitter Scavenger HuntThe Twitter Scavenger Hunt

20. Mary C. Schaffer
California State University, NorthridgeCalifornia State University, Northridge
BEA IGNITEBEA IGNITE
3-2-1 In Class Assignment3-2-1 In Class Assignment

21. 3-2-13-2-1 In-Class Assignment
Mary C. Schaffer
Associate Professor
California State University, Northridge
mary.c.schaffer@csun.edu
+1-818-512-4880

22. 3-2-13-2-1
The Problem:
Did the students….
•Comprehend the lecture?
•Understand the core concepts?
•What didn’t the students understand?
•Are there additional items the students
want to discuss?

23. 3-2-13-2-1
The Students Become the Solution
•At the end of the class session
I ask the students to write the following
•What are things that you learned
from today’s instruction?
•What are things you still want
to learn from this instruction?
•What thing you would change
about this instruction?
33
22
11

24. 3-2-13-2-1
The Students Become the Solution
Ten minutes before the class ends…
•Distribute paper to the students
•Use pages from used green books
•A good lesson in recycling
•All the pages are the same size making it easier to
read

25. 3-2-13-2-1
The Students Become the Solution
• When they finish, they turn the papers in
with their names on the paper
• This also becomes attendance for the day
• Ten percent of the course grade is based on
in-class assignments & forum postings
• Encourages students to attend lectures

26. 33-2-1-2-1 Library Research Lecture
Laura G.
• I never knew how to start and navigate through
the databases in the library until today.
• The importance of key words when searching. I
was amazed that if you change one word in the
search query or simply add a word, it can make a
world of difference and either broaden or narrow
your search.
• The database called “Ethnic News Watch”. I
have always found it very difficult to find
anything on minorities and this database is great.
And I can even get articles in Spanish.

27. 3-3-22-1-1 Library Research Lecture
Laura G.
• I would like more information on how to use
EndNote Web. It was confusing when it was
explained.
• Also, more information on Interlibrary loan.
How long does it take to get an article from
Interlibrary loan?

28. 3-2-3-2-11 Library Research Lecture
Laura G.
• This needs to be two lectures. There was way too
much material that we covered in this one class. I
need to review all my notes. I am a senior and
have never been given a lesson on how to use the
library. Why didn’t I learn this my freshman
year?

29. 3-2-13-2-1 Library Research Class
Solutions:
•We scheduled two additional sessions with the librarian. She offered these
during non-class time and students voluntarily attended. We discovered that those
students developed a relationship with our librarian.
•When the semester was over, students sent me additional emails.
• “I graduate this semester. I really wished that I had learned how to use
the library earlier in my college career. I’m really going to miss have
access to all of this great material.”
• “I learned that our library is a “first class” library. I always thought
you had to go to someplace like Harvard or USC to have a great library.
Our library is just as good as theirs.”

30. 33-2-1-2-1 Copyright Lecture
• A few years ago, I took a screenwriting class, and the professor told
us that we could use poor man's copyright to copyright our
screenplays. It was interesting to find out that it won't hold up in a
court of law. Now I know that I need to register my scripts with the
WGA.
• I was very surprised to learn that Clyde Stubblefield was sampled
from so much. I was surprised that he does not own the copyright for
his work, but that James Brown owns it. Now I better understand
what “work for hire” means.
• For years I have had peers and teachers explain different ways of
using media in your work, such as, using under 30 seconds of a song
in educational work is okay. I now know that they were just telling
me their version of fair use, and that fair use doesn't necessarily mean
legal. I've now retrained myself to think that I cannot use any
copyrighted material in my work unless I have the permission or if it
doesn't matter due to the means of distribution.
Brian P.

31. 3-3-22-1-1 Copyright Lecture
• I still don’t understand the issue of Fair Use. When can I
use something without getting permission from the
copyright holder? If I use something for a school project, is
it consider Fair Use? This is confusing to me.
• How can we find out how to negotiate copyright issues? I
am producing a documentary and I think I want to enter it
into festivals. You said that we could get “festival rights”
which is different than “all purpose rights”. I don’t
understand how you negotiate this. Can you explain more
about it?
Brian P.

32. 3-2-3-2-11 Copyright Lecture
Brian P.
• Why doesn’t CTVA have an entire class regarding
copyright. Since we all are majoring in film, television,
and multimedia and we all are going to be working with
intellectual property, why doesn’t the department have an
entire class devoted to legal issues. We need to not only
understand copyright, we need to understand trademark,
patent, parody, as well as other legal issues. You gave us a
definition of each and how they differ, but I would really
like to learn more about this and I think the department
should offer a class on legal issues.

33. 3-2-13-2-1 Copyright Lecture
Solutions:
•I created a hand-out/check list on Fair Use, asked the students to
read it before class. We spent 15 minutes discussing Fair Use a
week later.
•Invite a guest lecturer on Rights and Clearances. This individual
spends approximately 15 minutes providing an overview and then
we spent an hour answering questions from the students.

34. 3-2-13-2-1
Outcomes:
•I used the students responses throughout the semester in my
lectures. It helped to reinforce the key learning objectives.
•3-2-1 allowed students who didn’t speak in class (because of
shyness or other reasons) have their voice heard.
•I use the responses from the previous semester to tweak my
syllabus for the next semester.
•I use the responses to reinforce specific points the following
semester.

35. 3-2-13-2-1
Outcomes:
•Students feel they have a “voice” in the class.
•This provides continuing classroom assessment.
•Provides excellent feedback for me, the instructor.

36. 3-2-13-2-1
• Please take out a piece of paper and complete a 3-
2-1 exercise for this session.
• This will reinforce what you have learned.

37. 3-2-13-2-1
Thank you!

38. Greg Luft
Colorado State UniversityColorado State University
BEA IGNITEBEA IGNITE
Stacking, Structure and StoryStacking, Structure and Story

39. 39

Stacking,Stacking,
Structure and StoryStructure and Story
A different approach to scriptwritingA different approach to scriptwriting

40. 40

Helps students to visualize
the production process in:
Pre-Production
Field Production
Footage Review
Writing
Editing
STACKING

41. 41

First Step of Project
Explain the linear nature of
television stories, and discuss
the typical ingredients.
Show students a finished two
column video and audio script.

42. 42

 Natural Sound: Environmental, Subject-specific, Content-rich
 Music: Recorded on site or pre-recorded
 Interviews: Formal, informal, in action
 Narration: Written for reporter track
 Reporter Standup
 SFX
Discuss Audio Ingredients

43. 43

 Video
 Talking Heads
 Still Photos
 Text
 On-Camera Talent
 Graphics
 Animation
Discuss Visual Ingredients

44. 44
 Visuals are sequenced
 Wide, Medium, Tight,
 Establish Subject, Location; Provide Detail, Re-establish.
 Shots, Sequences, Scenes, and Stories
 Compare to Words, Sentences, Paragraphs, etc.
Brief review of video basics

45. 45

Use “stack” representations to match
ingredients in two columns
Narration
Natural Sound or Music
Soundbite
Video Audio

46. 46

In Class Demonstration
This tractor was made in 1946. It’s the only one of
its kind known to exist, and owner Harold Smith
thinks it’s extremely valuable.
Natural sound: Old tractor starts up
“I think I could sell it for 100
Thousand Dollars.”
In class, utilize a set of empty boxes
Play a television story in full
Then play the same story in
small segments, filling in the
stack to show how the content
would appear in a stacked
script.

47. 47

Stack is an audio-centric storyboard
Narration
Natural Sound or Music
Soundbite
Narration
Natural Sound or Music
Soundbite
Assign simple story.
.
Students begin in groups, using
stack for pre-production
planning.
Require students to collect the
appropriate ingredients for the
specific structure you have in
mind.

48. 48

 Students utilize the stack in
the field as a guide to collect
specific ingredients, regardless
of the story topic.
 Once field production is
complete, the stack is
converted into script.
Field Production

49. 49

Explain how the ingredients work
together
Narration
Natural Sound or Music
Soundbite
Narration
Natural Sound or Music
Soundbite
Subject, Transition, Attention
Connect to visuals
Provide details
Set context for soundbite
Authority, Eyewitness, Character
Scene 1
Scene 2
NEW SCENE

50. 50

Students write scene by
scene, with the
ingredients dictating their
text.
Structure
Narration
Natural Sound or Music
Soundbite
Narration
Natural Sound or Music
Soundbite

51. 51
Emphasize that organization of
audio boxes in the stack can vary
depending on collected content,
and story complexity.
Structure Variation
Narration: Can be very short or
long.
Natural Sound (can be multiple cuts)
Soundbite(s)
Narration
Natural Sound or Music
Soundbite

52. 52

 Explain that text content should be self-contained, but
connected to visuals.
Writing

53. 53

The vertical stacks translate very
well into an edit program
timeline.
Students make an immediate
connection.
Editing process is simplified.
Timeline Visual

54. 54

 Students turn in their
stacks, scripts, and finished
project
 Show the elements of each
in class.
 Discuss effectiveness, and
how this process can be
utilized in future projects.
Finished Assignments
Narration
Natural Sound or Music
Soundbite
Narration
Natural Sound or Music
Soundbite

55. Michael Bruce
The University of AlabamaThe University of Alabama
BEA IGNITEBEA IGNITE
Starting Class Right: Syllabus DayStarting Class Right: Syllabus Day

56. Starting Class Right:
Syllabus Day
Syllabus Day

57. Challenge
What can be done
to enhance the first
day of class in a
way that
emphasizes the real
world aspects of a
sports broadcasting
career?

58. Background
Course set up as broadcast network
(TCF Sports Network)
Students treated as employees in
training
Applicable to any course (small is
better)
Start the course off right with Syllabus
Day

59. Delivery
Deliver course
materials in class
on first day to each
student using mail
(post) envelopes.

60. Personalize
d
Materials are
personalized in
advance to each
student enrolled in
the course.

61. Course Materials
Employment notification letter
Employee Development Manual
Contract

62. Employment notification
letter
Letter from fictional
HR director,
notifying student of
their new entry-
level position and
directing students
to report to me for
their 16-week
training course.

63. Employee Development
Manual
a.k.a. traditional
syllabus printed in
book format

64. Employee Development
Manual
Written to emphasize
similarities to
professional
performance
standards.

65. Contract

66. One on one learning opportunities
Need for urgency
Relaxed Tension
Learning by doing rather than knowing
Simulate real world experience
Outcomes

67. How long did this take you?
Why did you spend so much time on
these?
I wish you would have emphasized the
importance of classes before now.
Student Reaction

68. Contact
Michael Bruce, PhD
mdbruce@ua.edu

69. Tim Hudson
Point Park UniversityPoint Park University
BEA IGNITEBEA IGNITE
Social Responsibility of JournalistsSocial Responsibility of Journalists
on a Global Scaleon a Global Scale

70. Judy Oskam
Texas State UniversityTexas State University
BEA IGNITEBEA IGNITE
Teaching Hybrid JournalismTeaching Hybrid Journalism

71. Teaching Hybrid Journalism
Judy Oskam
Professor & Director
oskam@txstate.edu
@judyoskam
1

72. Hybrid Classes
• Combine effective online
and classroom experiences
• Connect students to a
campus & professor
• Boost student enrollment
• Maximize university facilities
• Might generate distance fees
• Allow faculty to transition to
online
2

73. Journalism Experience
Faculty Expertise
–Writing
–Reporting
–Video/audio/web
–Creating content
–Chunking information
–Working on deadline
Experiential Learning
3

74. Organization
• Start with assessments &
work backwards
• Develop your course
schedule & syllabus
• Structure routine
assignments
• Connect students with you
& the content
• Dates or calendar in one
location
4

75. Oskam CREATE Method
•C – connect
•R – realistic
•E – evaluate
•A – accessible
•T – time commitment
•E – ergonomics
5

76. Connect
• Welcome message
• Personal comments on
assessments/assignments
• Meet with students on
campus, by phone, chat,
skype,
• Audio & video lectures
• Weekly assignments –
small stakes
• On campus meetings
(workshop format)
6

77. Realistic
• Play to your strengths
• Audio vs. video (Camtasia Relay, Prezi)
• Due dates (weekly, Sunday night)
• Post Learning Modules
• Rubrics help you and the students
• Applied (off-line) assignments
(conduct interviews, cover events)
• Provide student examples with permission
7

78. Evaluate
• Determine how much time
you will spend on each
class/assignment/project
• Review quiz and assignment
content
• Monitor participation on
forums/chat rooms
• Use the site stats tool in your
LMS
• What’s working? Email
traffic & questions will help
you with this
8

79. Accessible
• Be approachable
• Make it easy for students
to reach you
• Set your email policy so
students know when you
will respond
• Make sure students know
you are a ‘real person’
9

80. Time Commitment
• Start early
• Schedule online time
• Online or virtual office
hours
• Pace your assignments &
quizzes so you can
provide feedback
• Avoid the
correspondence model
10

81. Ergonomics
• Desk/chair/computer
–Work standing up at a
counter or raised desk
• Take breaks
• Position of screen
• Schedule a massage
(really!)
11

82. Teaching Hybrid Journalism
•C – connect
•R – realistic
•E – evaluate
•A – accessible
•T – time commitment
•E – ergonomics
12

83. Questions & Comments
Judy Oskam
oskam@txstate.edu
3rd
World Journalism Education Congress
Mechelen, Belgium
3-5 July 2013
13

84. Karel van den Berg
Windesheim School of MediaWindesheim School of Media
BEA IGNITEBEA IGNITE
Pattern Breaking NewsPattern Breaking News

85. My
first
journal
istic
tool
(1986)

86. Little
has
changed

87. new
questi
ons
Intellectua
l trade
known
answer
s
het enige journalistieke gereedschap dat ik al die jaren ben blijven
gebruiken is mijn brein. en het werkt nog steeds - tenminste, as far
as I can tell. But I better let you be the judge of that,
het enige journalistieke gereedschap dat ik al die jaren ben blijven
gebruiken is mijn brein. en het werkt nog steeds - tenminste, as far
as I can tell. But I better let you be the judge of that,

88. News might
start
with an
event,
journalism
always
starts with
an idea

89. Why don’t you
teach them their
most valuable tool?!

90. Uh...

91. Please stand
by
Waiting for
connection
with the right brain

94. Journalist
ic box

97. You teach
them patterns!

98. credits: Reporters Without Borders

99. credits: Reporters Without Borders
credits:ReportersWithoutBorders
onafhankelijk van welk medium dan ook: zelf overstap
gemaakt van krant naar televisie en ater online: een ding
bleef hetzelfde, een journlistiek gereedschap bleef onveranderd
broodnodig, dag in dag uit, al haperde het weleens, ik gebruik
het nog steeds.
nee, niet potlood en papier - dat ben ik veel mindr gaan
gebruiken.
onafhankelijk van welk medium dan ook: zelf overstap
gemaakt van krant naar televisie en ater online: een ding
bleef hetzelfde, een journlistiek gereedschap bleef onveranderd
broodnodig, dag in dag uit, al haperde het weleens, ik gebruik
het nog steeds.
nee, niet potlood en papier - dat ben ik veel mindr gaan
gebruiken.

101. who
what
when
where
why
how

102. who
what
when
where
why
how
else?
else?
else?
else?
else?
else?

103. who
what
when
where
why
how
else?
else?
else?
else?
else?
else?
too?
too?
too?
too?
too?
too?
not?
not?
not?
not?
not?
not?

104. ...but also how
to break them!
So teach ‘em
journalistic patterns...

105. Gwin Faulconer-Lippert
Rick Allen Lippert
Oklahoma City Community CollegeOklahoma City Community College
BEA IGNITEBEA IGNITE
SMARTer MoJo:SMARTer MoJo:
The 5 Minute ChallengeThe 5 Minute Challenge

106. SMARTer MoJo
The 5 Minute Challenge
Creating Success / Avoiding Disaster ... Using your SMART phone!

107. SMARTer MoJo
The 5 Minute Challenge
Creating Success / Avoiding Disaster
Using Your S.M.A.R.T. Phone!
WJEC-3 IGNITE
Gwin Faulconer-Lippert
Oklahoma City Community College
Rick Allen Lippert
University of Oklahoma

108. Brief Bios
Gwin Faulconer-Lippert
 25 years as Professor of
Mass Media Communications
 30 years as radio/TV host
 Clear Channel reporter/stringer
 Radio/TV voice talent
 NATPE Fellow (2003 & 2008)
 NISOD Master Teacher (2003)
 President’s Award for Excellence in
Teaching (2003)
 BEA Board of Directors, District 7
(2007-2012)
Rick Allen Lippert
 Owner, Lippert Media, LLC
 15 years Adjunct Professor
 35 year video production
professional
 Apple Certified Trainer
(2005 – present)
 Lynda.com author of
On-Camera series
 NATPE Fellow (2008)
 Outstanding Adjunct Professor
(2003)

109. The 5 Minute Challenge
Creating Success / Avoiding Disaster
MoJos must know and do it all right... if they are S.M.A.R.T.
They incorporate the work of 5 professionals into 1, a MoJo.
Take the 5 Minute Challenge as our students do. See if you are MoJo ready!
OK? Begin:
• View the Five S.M.A.R.T mobile journalism principles.
• For each of the five S.M.A.R.T. key points, you have one minute to:
- view the photo of a MoJo key disaster and the photo of a MoJo key success
- identify the good practices and disastrous practices
- explain the difference/repercussions of the disaster/success practice
• In just 5 minutes and using the S.M.A.R.T. start challenge, mobile journalists
can SEE what separates MoJo successes from disasters.

110. SMARTer MoJo
The 5 Minute Challenge
S – SET UP
•The Equipment
-Smart phone
-Monopod or
tripod
-Microphone
•Vericorder MoJo Kit
-mCAMlite phone
housing
-Small LED light
-Monitoring mic
cable

111. The Sidebar
for Better MoJo:
SMARTer MoJo
The 5 Minute Challenge
• M - MONITORing
• As it is…
–Review subject’s appearance
–Note good looks vs. bad
• Pay attention to:
–background
–noise
–lighting
• Connect location to story through
framing
• As it looks on screen…
–Check the SMART Phone camera
composition & background.
–Check eye contact of subject.
Be your own critic! Look closely at
your subject’s appearance in the monitor.
Check for distractions…weird hair, smudges,
flapping shirt, wiggling cats, etc.
Your location is your story to your viewer.
This is the tricky part! Make sure you or your
subject are looking at the right place.
Learning where to look is key to being
perceived well.

112. The Sidebar
for Better MoJo:
SMARTer MoJo
The 5 Minute Challenge
• A - AUDIO
• Do not use built-in mic
• Hand-held or clip-on mic best
• Second best is attached mic
• Volume should have presence
and no distracting noises
• Monitor with head phones
Your audio is over 51% of the message.
Audio must be monitored for quality.
Vericorder cord allows listening through the
phone headphone jack.

113. The Sidebar
for Better MoJo:
SMARTer MoJo
The 5 Minute Challenge
• R - READINESS
– Practice with front-facing lens:
– Be Camera Ready
• Look prepared
• Lock in eye contact/energy
• Act like you know what you are doing
• Enunciate words
• Record/watch/learn
• Practice, practice, practice
– Be Equipment Ready
• Fully charged/Focused
• Know your gear
Reporters:
Look at front-facing lens NOT the
screen.
Connecting: Viewers remember 97%
how something is said…
Remember who you’re talking to…
Prepare, Prepare, prepare.
Repeat recorded phone rehearsal
as many times as it takes to develop
your style. Be yourself but better.
Now is NOT the time to be reviewing
the manual.
Test your gear!

114. The Sidebar
for Better MoJo:
SMARTer MoJo
• T- TECHNIQUE
• Equipment
– Steady tripod shot is best
– Camera at eye level or higher
– It’s a horizontal world
– Light: use it!
– Right mic for the job
• Reporter
– Eye contact with lens
– Speak slowly with authority
– Think, set the scene, then tell the story
concisely
– Say your name with confidence
What they know is what you show.
Keys to making that in-person
connection.
Your technique is your presence.
It defines your persona and makes
the viewer prefer you.
Practice your name/your style until
it is second nature to you.
Deliver your final thought, your
station’s name and your name to
punctuate your report.
It’s a signature to your work!

115. The 5 Minute Challenge
Set-up, Monitor, Audio, Readiness, Technique
It’s worth 25 points!!!
Can you name the disasters from each S.M.A.R.T. category?

116. S.M.A.R.T.
 Set Up: Equipment, light, mic
 Monitoring: Subject/background
 Audio: Headphones, noise
Readiness: Functional/focused
 Technique: Professional look and sound

117. S.M.A.R.T.er MoJo
How did you do with
the 5 Minute Challenge?
? points out of 25

118. SMARTer MoJo
The 5 Minute Challenge
Creating Success / Avoiding Disaster
Using Your S.M.A.R.T. Phone!
WJEC-3 IGNITE
gfaulconer@occc.edu
lippert@ou.edu

119. Michael Huntsberger
Linfield CollegeLinfield College
BEA IGNITEBEA IGNITE
Turn your undergraduate studentsTurn your undergraduate students
into History Detectivesinto History Detectives

120. Improving the mass mediaImproving the mass media
history project:history project:
Turning undergraduateTurning undergraduate
students into “Historystudents into “History
Detectives”Detectives”
Michael HuntsbergerMichael Huntsberger
Department of Mass CommunicationDepartment of Mass Communication
Linfield College, McMinnville OR USALinfield College, McMinnville OR USA
World Journalism Education Conference 3 - Ignite!World Journalism Education Conference 3 - Ignite!
Mechelen, Belgium July 2013Mechelen, Belgium July 2013
TMTM
Image: http://oregonnews.uoregon.edu/lccn/sn84022657/1862-09-06/ed-1/seq-1/
Improving

121. The problem
• Students not interested in media history.
• Students lack connections to the past.
• Students lack training in historical research
methods.
The result
• Disengaged students.
• Poor research papers.
Image: http://www.onlineuniversities-weblog.com/50226711/images/bored_student.jpg

122. The idea
• Connect students toConnect students to
media history throughmedia history through
the history they knowthe history they know
best and they canbest and they can
access - their familyaccess - their family
history.history.
Imagehttp://2.bp.blogspot.com/_H5kAZb40_o8/SwMGk63R7DI/AAAAAAAABt4/f1vfoaIYXt
w/s1600/family+reunion-2.jpg

123. The inspiration
• History Detectives (Public
Broadcasting Service,
USA)
• Programs available on line
http://www.pbs.org/opb/histo
>
Image: http://fox-lenz.com/wp-content/uploads/2011/02/pbs-history-detectives-comp-442x590.jpg

124. The assignment
• Identify a communication artifact from family history -
personal letter, diary, photograph, newspaper article,
magazine article, audio or videotape recording, etc.
• Answer these research questions:
• How does this artifact connect your family to a
specific issue, event, or person in a specific medium
during a specific time in U.S. mass media history?
• What is its significance in the context of media
history?
• Write a 3000-3500 word paper.

125. The final paper (rubric)
• Project design (25%) - introduction,
research questions, literature review,
methodology.
• Original research (35%) - primary sources,
evidence, relevance.
• Analysis and conclusions (30%) -
explanation, interpretation, context.
• Composition (10%) - scholarly standards,
grammar, citations, references.

126. The example
• Title: Political Ideology, Nationalism and their
effects on reporting during the [US] CivilWar.
• Artifact: 3x great grandfather’s journal entry
from September 8, 1862 - “Read news of a
battle at Bull Run, Union troops victorious.”
• RQs: How did he receive the news? Since
historians regard the battle as a Union defeat,
why did he believe it was a Union victory?

127. The evidence
• Student travels to state newspaper archive,
locates report in September 2, 1862 edition
of The [Jacksonville] Oregon Sentinel.
• Journal documents the ancestor was in
Jacksonville throughout September 1862.
Image: http://oregonnews.uoregon.edu/lccn/sn84022657/1862-09-06/ed-1/seq-2/

128. Other projects
• A family member’s service in a US CivilWarA family member’s service in a US CivilWar
regiment led to a comparative study ofregiment led to a comparative study of
newspaper coverage of large and small battlesnewspaper coverage of large and small battles
on July 4, 1863.on July 4, 1863.
• A medal awarded by the Chinese governmentA medal awarded by the Chinese government
sparked a comparative investigation ofsparked a comparative investigation of
magazine and film coverage of the Chinamagazine and film coverage of the China
airlift during World War II.airlift during World War II.
Image: http://www.michigan.gov/images/civsoldi_9757_7.gif; http://dmn.wpengine.netdna-
cdn.com/wp-content/uploads/2012/03/Flying-Tigers-Scramble.jpg

129. The outcomesThe outcomes
• Nature and scope of class discussions showedNature and scope of class discussions showed
students were more enthusiastic about the finalstudents were more enthusiastic about the final
project.project.
• Office hour contacts and online discussionOffice hour contacts and online discussion
boards showed students were more engagedboards showed students were more engaged
with the instructor, and with each other.with the instructor, and with each other.
• More substantive - and interesting - projects!More substantive - and interesting - projects!
• 4% improvement in scores for the course.4% improvement in scores for the course.
Image: http://www.gpb.org/files/national/history_detectives.jpg

130. Pamela Tran
The University of AlabamaThe University of Alabama
BEA IGNITEBEA IGNITE
Ignite Through InteractionIgnite Through Interaction
(Not your mother’s fishbowl exercise)(Not your mother’s fishbowl exercise)

131. 131131
IgniteIgnite
Ignite Through Interaction—Ignite Through Interaction—
(Not your mother’s fishbowl exercise!)(Not your mother’s fishbowl exercise!)

132. 132132
#?%!
?????

133. 133133
How can we improve
The basic skills of our
electronic news students?

134. 134134
With an easy practice drill
that can be worked into
every class and any time you
have an extra five minutes….

135. 135135
The basic “formula”The basic “formula”
3-shot sequence
60” live shot
A good lead or lead-in
Focused story angle
Good interview questions
Descriptive writingDescriptive writing
??????
Two strong sources
Web add-ons
Good teases
Good nat sound
Localize the story
Interactive bridges
???

136. 136136
ThenThen……
PullPulla current story idea.
MatchMatch it with a skill from your list.
PickPicka student to answer/explain/”go-live”/or
“role-play” with another student.
The whole classThe whole class can join in and learn from the
process.

137. 137137
YourYour TurnTurn

138. 138138
Variations on theVariations on the
formulaformula
Ethics in action—role-play
Take a note from comedians—Bring a
prop box
Old school debate—Team for/team
against
Include the professional guest speakers

139. 139139
AddAdd inin thethe NewNew Tech—Tech—
You can “draw” the current story from mobile devices
Crowd source—Have grads tweet in
Scavenger hunt—for the best web add-ons
Skype in professionals
Best and Worst Practices—youtube—Bring it!
Vote on the lead story for tonight’s cast…

140. 140140
YouYou get the idea…Mixget the idea…Mix
it up!it up!
What would you add?What would you add?

141. 141141
Ignite Through InteractionIgnite Through Interaction
Pamela Doyle Tran
pam@ua.edu
University of Alabama

142. Butler Cain
West Texas A&M UniversityWest Texas A&M University
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Ignite Through InteractionIgnite Through Interaction
(Not your mother’s fishbowl exercise)(Not your mother’s fishbowl exercise)

143. 143Dialogue, twitter and geo quizzes
International Journalism
WJEC-3 Ignite
Butler Cain, Ph.D.
West Texas A&M University

144. 144
Course Title and objectives
MCOM 3392: Special Topics – International Journalism
Summer II 2012
Primary Academic Objectives
Develop an understanding of the emergence and influence
of global digital media
Become adept at recognizing different cultural perspectives
in foreign news programming
Develop an understanding of and appreciation for the
important role Twitter plays in disseminating information about
developments in global journalism
Become more knowledgeable about global geography

145. 145
Textbook and discussion
Hachten, William A. and Scotton, James F. (2012). The World
News Prism: Challenges of Digital Communication, 8th edition.
Wiley-Blackwell.
Class sessions included discussion of the
day’s chapter assignment. Tables were
arranged into a large rectangle to
encourage face-to-face dialogue.
Students led the conversation, and the
instructor followed up on topics that
needed some more examination.

146. 146
Foreign news programming
The course introduced students to eight English-language
foreign news organizations during the summer semester.
Press TV (Iran) – http://www.presstv.ir
Al Jazeera (Qatar) – http://www.aljazeera.com
France 24 (France) – http://www.france24.com/en
NHK World (Japan) – http://www3.nhk.or.jp/nhkworld
CCTV (China) – http://english.cntv.cn/01/index.shtml
RT (Russia) – http://rt.com
Link TV – “Mosaic” (Middle East)
http://www.linktv.org/mosaic
Voice of America – “In Focus” (Africa)
http://www.voanews.com

147. 147
News websites

148. 148
Weekly News Analyses
Students watched
four English-
language
international
newscasts in class
each week. They
examined these
programs for their
cultural and
journalistic
perspectives.
Students wrote five weekly analyses throughout the course of the
summer semester. Each was two pages, double spaced.

149. 149
Twitter enhanced the course
Twitter served multiple
classroom purposes
Engaging with the
international news
broadcasters the students
were analyzing
Recruiting guest speakers
Promoting the course and
WTAMU to a larger online
audience

150. 150
Tweeting for spj
Students researched
current events related to
international journalism and
then wrote tweets that
included hyperlinks to the
web-based reports.
Their tweets were then
retweeted by the Society of
Professional Journalists’
International Journalism
Committee.

151. 151
You can’t study
international journalism …
… without studying the world’s geography.
There were five geography quizzes featured in
this course, one per week.
Straight from the syllabus:
Geography Quizzes
Stop freaking out! You’ll be given the opportunity to study long
before you take the quizzes. Think about it as an opportunity to
learn more about your world and to become a better global
citizen. Quizzes will focus on Europe, Asia, Africa, the Middle East
and Central and South America.

152. 152
Student reactions
Responded to the course’s “open format” and
vigorously participated in daily discussions
Were impressed with the types of news stories
covered by the international broadcasters
Were surprised by the occasional presence of anti-
American or anti-Western points of view expressed on
the international programs
Used the course to enhance their Twitter skills
Accepted the geography quizzes as a fun challenge

153. 153
Thank you!
Butler Cain, Ph.D.
Department of Communication
West Texas A&M University
Canyon, Texas
Email: bcain@wtamu.edu
Twitter: @ButlerCain

154. Slides available onlineSlides available online
beaignite.wordpress.com/wjecbeaignite.wordpress.com/wjec
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