57693 Screen Curation

Warning: The information on this page is indicative. The subject outline for a particular session, location and mode of offering is the authoritative source of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.

Subject handbook information prior to 2025 is available in the Archives.

UTS: Communication: MAP and Sound and Music Design
Credit points: 6 cp

Subject level:

Postgraduate

Result type: Grade and marks

Requisite(s): 16 credit points of completed study in spk(s): STM91564 Core stream (Media, Industry and Practice)
These requisites may not apply to students in certain courses.
There are course requisites for this subject. See access conditions.
Anti-requisite(s): 57227 Curation

Description

This subject equips students with the expertise to navigate the evolving landscape of screen curation, enhancing their ability to evaluate, programme, and exhibit screen content within diverse industry and institutional frameworks, such as film festivals, galleries and online platforms. Students develop critical skills in assessment and review, learning to discern the relationship between commercial, critical, cultural and emotional responses to screen content and how to apply various standards of merit. Through practical exploration, students examine the interplay between commercial success and cultural impact, and the responsibilities of curators in shaping public discourse. Students' learning unfolds through interactive case studies, fostering an understanding of gatekeeping dynamics and how to measure selection and success criteria from a variety of perspectives.

Subject learning objectives (SLOs)

a.	Evaluate the practices of screen curation of Indigenous content.
b.	Describe and implement screen curatorial practices and techniques in a range of cultural contexts.
c.	Critique and apply screen curation industry practices.
d.	Synthesise and apply knowledge of screen curation through culturally relevant and impactful concept development.

Course intended learning outcomes (CILOs)

This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:

Apply collaborative practice, research, and entrepreneurial skills to business, curation and understanding audiences (3.1)
Critically reflect on ethical practices to work effectively with and for Indigenous peoples and communities as professional screen arts practitioners. (4.1)
Engage screen audiences and communities for impact and change. (5.1)
Demonstrate high-level abilities and self-awareness as an oral, written and audio-visual communicator. (6.1)

Teaching and learning strategies

This subject is delivered through on campus seminars and online content. Teaching and learning strategies include lectures, presentations, in-class discussions, case study analyses and project-based learning. In-class and out-of-class activities consist of case studies, targeted readings, scenario exercises, concept development, project pitching, screenings and presentations. The learning activities are complemented by preparatory work prior to classes using resources provided on Canvas. Students are expected to regularly check and engage with subject materials on Canvas to manage their learning experience in this subject effectively. During the session, students gain formative feedback at several points in the session, including prior to census date, in response to in-class learning activities and the development of their assessments.

Content (topics)

This subject provides students with skills to create curated screen projects that deploy innovative curatorial practices. Students develop practical approaches to screen curation in a range of cultural contexts and sites along with an understanding of the complex issues surround the practice of curation. Specific topics addressed in this course include, gatekeeping, cultural protocols, the cultural capital tied to notions of merit, taste and judgement along with the intersection of curatorial, cultural and commercial interests.

Assessment

Assessment task 1: Indigenous Screen Curation Case study

Objective(s):

a, b and d

Weight:

35%

Length:

Part 1) 5-minute verbal presentation with slides
Part 2) 1000 words

Criteria linkages:

Criteria	Weight (%)	SLOs	CILOs
Depth of analysis concerning Indigenous curatorial principles and protocols	35	a	4.1
Relevance of critical reflection and analysis regarding curatorial practice	30	b	3.1
Clarity and professionalism of the presentation	15	b	6.1
Design standard of support materials	20	d	6.1

SLOs: subject learning objectives
CILOs: course intended learning outcomes

Assessment task 2: Curated Screen Festival - Audio-visual Pitch and Documentation

Objective(s):

b, c and d

Weight:

65%

Length:

Part 1) 2000 words
Part 2) 3 minutes

Criteria linkages:

Criteria	Weight (%)	SLOs	CILOs
Depth evident in curatorial approach and plans for concept execution	25	b, c	3.1
Demonstrated understanding of cultural context within which the festival is to take place.	20	d	3.1
Innovation in application of curatorial practices	35	c, d	5.1
Professionalism and strength of production values evident in submitted material.	20	d	6.1

SLOs: subject learning objectives
CILOs: course intended learning outcomes

Minimum requirements

Attendance at all teaching activities is essential in this subject. Teaching activities are based on a collaborative approach that involves essential workshopping and interchange of ideas with other students and the tutor to build capacities towards meeting the subject learning objectives. A roll will be taken at each activity (whether on campus or online). Students who have more than two absences from class will be refused marking of their final assessment (see Rule 3.8).

Generative AI may be permitted in specific assessment tasks. If so, it will be noted in your assessment brief and its use will need to be referenced. In this case refer to the UTS Library Guide on the use of Generative AI for instruction about how to reference correctly.

References

Required and recommended readings will be available via UTS Library and through the subject site.

Balzer, D. (2015). Curationism : how curating took over the art world and everything else (1st ed.). Pluto Press.

Bosma, P. (2015). Film programming : curating for cinemas, festivals, archives. Wallflower. https://doi.org/10.7312/bosm17459

Bourdieu, P. 1993, The Field of Cultural Production. Columbia University Press, New York.

Clague, P. (2019). Indigenous storytelling: Deconstructing the archetypes. In Artlink (Vol. 39, Issue 2, pp. 10–19). Artlink Australia.

de Valck, Marijke., & Damiens, Antoine. (2023). Rethinking Film Festivals in the Pandemic Era and After (1st ed. 2023.). Springer International Publishing. https://doi.org/10.1007/978-3-031-14171-3

Graham, Beryl., & Cook, S. (2010). Rethinking curating : art after new media. MIT Press.

Janke, Terri., & Gray, Cathy. (2009). Pathways & protocols : a filmmaker’s guide to working with Indigenous people, culture and concepts. Screen Australia.

Kreps, C. F. (Christina F. (2003). Liberating culture : cross-cultural perspectives on museums, curation, and heritage preservation. Routledge.

MCA. (2024). Aboriginal and Torres Strait Islander Cultural Learning Framework. Museum of Contemporary Art, Sydney.

Saba, C. (2013). Preserving and Exhibiting Media Art: Challenges and Perspectives (1st ed., Vol. 7). Amsterdam University Press.

Smits, R., & Nikdel, E. W. (2019). Beyond Netflix and Amazon: MUBI and the curation of on-demand film. Studies in European Cinema, 16(1), 22–37. https://doi.org/10.1080/17411548.2018.1554775

Tryon, C. (2013). On-demand culture : digital delivery and the future of movies. Rutgers University Press. https://doi.org/10.36019/9780813561110