CalArts Academic Assessment Plan School: Film/Video Program: Experimental Animation Degree(s): BFA, MFA Last revised by: Hillary Kapan Revision date: July 2014 I. Program Description Fine art principles and practices are the essential forces guiding the mission of the Program in Experimental Animation a course of study designed for independent and adventurous artists who are interested in personal expression and who regard animation as an ever- evolving art form. This program offers a framework in which students explore, develop and refine intellectually demanding, aesthetically progressive concepts and professional practices in their personal cinematic art- making. The curriculum begins by building a foundation understanding of a variety of animation techniques and concepts. Courses in 2- D drawn and direct animation, stop- motion, and 2- D and 3- D computer animation blend practical knowledge with creative stimulation, while animation history courses provide a detailed examination of all forms of animation art with a special emphasis on the history of experimental forms. Once foundation studies are completed, students work closely with their mentors and other members of the program s accomplished faculty as they experiment with and extend their own unique artistic visions. At the advanced levels of the curriculum, students chart a more individualized course of study in consultation with their mentors, who help to custom- tailor coursework according to each student s particular interests. The Program in Experimental Animation enjoys a long- standing international reputation for excellence in innovative animation production. Its faculty, students and alumni have consistently won top awards at film festivals in the United States, Europe and Asia, and are widely credited with helping to define the art of animation as we know it today. II. Student Learning Outcomes BFA Outcomes 1. Creative development: Student has devised a creative process that includes well- developed drawing, animation and filmmaking skills, and development of a distinctive voice 2. Individual voice: Student s style is recognizable and compelling. Their work shows substantial creativity and an in- depth development of independent ideas 1
3. Contextual knowledge: Student is aware of and can critically discuss current developments in time- based art as well as being cognizant of past developments in animation and filmmaking history. Is able to demonstrate his/her advanced understanding of historical/cultural/social context of his/her work convincingly in presentations, discussions and writing 4. Digital skills: Student applies technology appropriately and with confidence, and combines different techniques in a meaningful manner to achieve a desired outcome. Student is able to explain the process and help others in solving problems 5. Communication and critical skills: Student can convincingly argue an idea that is not in accordance with opinions of others. Student listens and responds to what was said. S/he uses knowledge effectively in his/her arguments and takes other people s opinions seriously. S/he has successfully worked with others on projects 6. Professionalism: Student s personal work exceeds expectations. Student is able to give professional presentations and understands professional etiquette. Student s work is goal oriented, organized and student is able to work well under pressure. Student has a good relationship with Faculty, and frequently supports peers with valuable information and/or help MFA Outcomes 1. Creative development: Student has advanced ability in all aspects of their creative work. The student has developed accomplished animation and filmmaking skills. Their thesis project shows a highly distinctive voice, whose artistic work is at a fully professional level 2. Individual voice: Student s thesis is informed, innovative and powerful. Unique combinations of ideas and techniques are used to make highly original work 3. Contextual knowledge: Student has perceptive critical skills, is aware of and can critically discuss the historical, social, and cultural aspects of their own work and their place within the art world, the animation world, and specifically within the world of time based art 4. Communication and critical skills: Student is fully able to work with others as a collaborator and advisor, and is an effective director 5. Digital skills: Student s ability to use key technical equipment, software and digital processes surpasses that of most, to the extent that he or she could be called upon to teach others. Advanced understanding and innovation is evident in their thesis project 6. Professionalism: Student is sought out by others because of his/her high degree of professionalism and expertise. Has a wide range of contacts and has begun integration into the larger arts community. His or her presentations are stimulating. S/he understands and practices good professional etiquette. Student is able to meet personal and artistic goals, is organized, and able to work well under pressure. Student frequently supports peers with valuable 2
information and/or help and has a good relationship with Faculty III. Curriculum- Outcomes Alignment Experimental Animation BFA Curriculum Map SLO1 SLO2 SLO3 SLO4 SLO5 SLO6 FE107A BFA Foundation in Animation X X X X X FE107B BFA Foundation in Animation X X X X X FE255 Hybrid Imaging X X X X FE445 Intermediate After Effects X X X X CS276A History of Animation BFA X X X CS276B History of Animation BFA X X X FE140 Sound Acquisition X X X FE202A The Digital Path and Short Projects X X X X X FE202B The Digital Path and Short Projects X X X X X FE141 Post Production Sound for Experimental Animators X X X F153 Structuring Strategies X X X CS175A Film History (2) X X CS175B Film History (2) X X FE236 Experimental Animation: Direct Techniques X X X X FE382A Experimental Animation Undergrad Critique X X X X X FE382B Experimental Animation Undergrad Critique X X X X X X Experimental Animation MFA Curriculum Map SLO1 SLO2 SLO3 SLO4 SLO5 SLO6 FE450 Sound Acquisition X X X FE235 Drawn Techniques for the Experimental Animator X X X X FE455 Hybrid Imaging X X X X FE302A The Digital Path for Animation X X X FE302B The Digital Path for Animation X X X FE425A First Year Shorts X X X X FE425B First Year Shorts X X X X 3
FE451 Post Production Sound for Experimental Animators X X X FE560 Seminar in Animation History X X X F153 Structuring Strategies X X X FE335A Experimental Animation Thesis Concept Seminar X X X X X FE335B Experimental Animation Thesis Concept Seminar X X X X X FE300A Experimental Anim. Thesis Production Seminar X X X X X FE300B Experimental Anim. Thesis Production Seminar X X X X X FE900 Independent Study X X X X X IV. Mid- Residency Review and Graduation Review Methodology Reviews of Student Work and Progress In the Experimental Animation program, all reviews are supplemented by rigorous mentoring meetings, which constitute reviews in themselves. Both a student s work and the overall progress of the student undergoes continual evaluation through regular mentoring sessions which generally range from 30 minutes to an hour and can last up to two hours. Mentoring not only happens between mentor and student: students are encouraged to seek out and speak with all relevant faculty within the Experimental Animation program and within the School of Film/Video as a whole. With a robust system of mentoring in place, students can receive feedback and guidance in a timely manner, with very little latency. This low- latency approach to reviewing student work and student progress amounts to an ongoing review process. The results of each mentoring meeting assists each student in conducting research, in learning, and in creative work over the coming week or weeks. A student may work with two, three, or several faculty in this way, thus getting an almost continual flow of assistance. Faculty provide ongoing evaluation and suggestions within a framework that emphasizes the nurturing of independent, personal work motivated by each student s particular artistic drives. Mid- residency Reviews for BFAs Mid- residency (mid- res) reviews occur in the fall semester or early in the winter semester of an undergraduate student s BFA3 year. Students are reviewed by a committee of three or more faculty, at least two being from the Experimental Animation program. The committee consists of the student s mentor and additional faculty chosen in consultation with the mentor. In their mid- residency reviews, students submit an overview of their work completed at CalArts while in the Experimental Animation program. Transfer students will not typically present work done prior to enrolling in the Experimental Animation program at CalArts, but may show some of that work as context. A BFA3 transfer will complete the mid- residency review at the end of the spring semester of their BFA3 year. Work may be in the form of film, installation, performative pieces, or other animation related efforts, and may also include non- animated work done while at CalArts. In addition, each student s academic progress is evaluated. Faculty provide analysis, commentary, and recommendations 4
to each student during mid- residency reviews. Discussion will include issues relevant to the student s personal direction and directions the student may not yet have considered. Analysis and commentary combine with questions that can pertain to process, form, content, historical and contemporary concerns, audience, and intent. In the event of insufficient progress in either academic performance or (critical studies) or métier practice or for any other issues, students are directed to seek and receive appropriate assistance, which may include any of the resources available to students, including and not limited to counseling, additional work with their mentor or other faculty, assistance with writing or English language skills, and so forth. Every effort is made to ensure the academic and métier success of our students. Métier Warning In the event of unacceptable progress in the métier, students are placed on métier warning. This process is not normally a part of the mid- residency review, and will occur at the earliest moment that unacceptable performance has been noted. Métier warning results only after substantive consideration and consultation between mentor, program director(s), and relevant faculty, that is, faculty having substantial interaction with the student. Students are notified of any métier warning and of removal from métier warning in writing. Removal from métier warning occurs when the student has successfully completed coursework at the expected level of competency. Graduation Reviews for BFAs Prior to graduation, BFA students receive a review of their artistic production and coursework within the Film School. As with mid- residency reviews, students present their work, which can be in various formats, using a variety of media. Work is evaluated and faculty provide both retrospective analysis and forward- looking suggestions and advice which can include commentary on potential directions for both artistic and professional pursuits. Métier requirements are reviewed to insure completion. However, given the mentoring system in place within the Experimental Animation program, in which student progress is closely monitored, it is rare that a student will not have successfully completed required coursework in the métier. Failure to complete coursework generally involves illness or another impediment beyond the student s control. In the event of non- completion of métier requirements, the program director and dean are consulted in order to best advise the student on a recommended course of action to successfully fulfill requirements for graduation. Thesis Proposal Review for MFAs During the spring semester of their MFA2 year, MFA students submit a proposal for their thesis. The review committee will be comprised of the student s mentor and at least two additional faculty chosen in consultation with the student s mentor. The committee will include at least one other faculty member of the Experimental Animation program. The thesis project submitted for approval can be any form that utilizes animation, including and not limited to film, video, digital video, installation, performance, event- based work and various hybridized forms and formats. Work may be one film or a body of work or sequential works, such as a sequence of animation installations or performances incorporating animation. Students will generally present a selection of prior work, if appropriate for contextualization of the thesis proposal, in addition to examples of influential work by artists, influential ideas, along with any other relevant conceptual material. In addition, students will typically present examples of their 5
intended visual and auditory directions. For narrative works, storyboards, animatics and/or other visual means will indicate to faculty the intended direction and details of the thesis project and its scope. For non- narrative works, any visual and auditory means may be used to convey the intent, appearance, progression, and sensibilities of the proposed thesis project. Students proposing a more process- oriented thesis are expected to detail aspects, considerations, and expectations for the proposed process, in addition to providing any questions the student intends to explore in the creation of the work. Further, process- oriented proposals will generally include examples of experimentation which utilizes one or more aspects of the intended process or processes. Project proposals may be for a single work, as in a single animated film, or for a body of work or sequence of works. The thesis proposal will be considered in terms of its scope, artistic merit, conceptual sophistication, and in any other terms relevant to the particular proposal. The proposal will be judged based the likelihood that it can be completed during the student s final MFA year. Proposals that are not likely to be completed in the final year will be required to be adjusted so as to be completable. Proposals lacking sufficient sophistication, merit, or clarity will require additional preparation by the student and necessitate a second review. In very rare instances, there may be a third review of a proposal. The student s thesis committee those reviewing the thesis proposal will work directly with the student, usually one to one, in order to guide the student in the development of a satisfactory proposal. Thesis Review for MFAs Prior to graduation, MFA students will present their final work to faculty. For non- silent animations, films are required to include a completed and mixed soundtrack. Faculty will discuss the work in depth and from many perspectives. In the thesis review, faculty question students at length, inquiring into the ultimate intent, degree of completion, means and modalities, working methods and their effects, historical relevancies, questions of content, process, and form, interplay of sound and image, audience considerations, and/or through other appropriate trajectories of thought and investigation.. If the thesis work meets or exceeds the requirements for graduation, and all requirements are met, the student will be approved to graduate. Approval is given verbally at the conclusion of the thesis review. In the event that the student is not approved for graduation, the student will be apprised of options. If the thesis project is not found to be in a completed form or if the thesis is not yet of sufficient merit, the student will have the opportunity to continue work on the thesis and to resubmit it for review by the committee according to Experimental Animation program guidelines as stated in the online catalog. V. Use of Review Results. All students receive a written copy of notes taken during their reviews. The notes from student reviews are further reviewed by the mentor for accuracy and completeness and become part of each student s records. The review notes are then submitted for dean approval. As noted above, reviews are also used in evaluating whether a student has completed necessary requirements at artistic and curricular levels. Faculty discuss the results of reviews both within program meetings and outside program meetings and consider the results as data to guide the directions, planning, procedures, methods, and goals of the program. Since reviews happen throughout the academic year, the results of reviews have ongoing and frequent bearing on evaluation of diverse aspects of the Experimental Animation program and considerations within the School of Film/Video as a whole. Review results have a powerful, direct influence on the program. Mentors use review results in the further guidance of students. Additionally, 6
all committee members will typically continue to meet with students, and thus, the review results will be used by all members of a review committee in the guidance and assistance of students. Review results motivate reanalysis of objectives and means within the program as part of annual and interim program reviews, concluding in the implementation of new methodologies, goals, curricula, and requirements. Additionally, review results figure prominently in guiding changes made in relevant portions of the Calarts catalog. 7