Student Capstone - Fiction

03600001CCCapstone Projects are peer-mentoring environments provided by the Media Arts Department and initiated by Media Arts majors. While the student initiating a Capstone Project assumes the primary responsibility for interacting with the Department, the process is collaborative. These advanced projects are generally culminating experiences at the end of a student’s undergraduate work (similar to a senior project). Each capstone project comes with associated coursework, class credit, and departmental supervision. Capstone projects also potentially receive a large amount of departmental support, through equipment access and funding.

Eligibility

The applicant pitching the project (usually a Director or Producer) must be in good academic standing, on track toward graduation, and must have a strong record of collaboration and citizenship. Additionally, applicants pitching capstone projects must have completed the following pre-requisite classes:105, 112, 114, 185, 187, 241, 285, 291, 292
Applicant directors: 319

Project Size and Scope:

All fiction capstone projects must conform to a total script length of 7 pages. This is to keep capstone films from overextending outside the bounds of the given time frame to complete the capstone (1 1/2 semesters). This also prevents the capstone film from becoming unwieldily or overly expensive.

Capstone Process:

All capstone projects start with a script, and with a project applicant. Generally, the applicant may be a Director or Producer—but must apply as a single person attached to the project. We request that no other commitments be made to any potential key crew members prior to approval at the Script Development Pitch.

The initiation of the project by the project applicant also designates this individual as the liaison between the project and the department. This capacity is slightly different than his or her actual crew role on set, and the task of Project Liaison is in addition to the student’s specified crew responsibility. The Project Liaison is responsible for making certain that the peer mentoring environment is maintained and that the project complies with the Departmental conditions placed on the Capstone process—from start to finish.

  1. In many cases, a Director/Screenwriter pitches his/her own script. However, it’s entirely appropriate for a Producer or a Director to pitch someone else’s script, as long as the writer approves.
  2. This script must be no longer than 7 pages in length (standard screenplay format). It will not be considered if it is any longer.
  3. If applicants wish for individual faculty members to review their script before the pitch, they are welcome to submit their proposed scripts to the department writing committee (consisting of Media Arts faculty members). To do this, these scripts should be emailed to the Media Arts Production Coordinator, identifying that the script is for capstone consideration.

Content Approval

All student film projects at BYU are to be created in accordance with the values and standards associated with the University Honor Code and the TMA Viewing and Creation Policy. This isn’t to say that the project needs to be overtly religious; it is simply a reminder that use of offensive material is unacceptable and may result in the rejection of your proposal or termination of the project anytime during the production process (even after the Greenlight Pitch, or even during the Post-Production phase). The ultimate reference is the TMA Creation & Viewing Policy document. Any additional questions regarding content should be discussed with Media Arts faculty advisors.

The Script Development Pitch occurs in both March and November of every year.

This is done through these steps:

  1. Finalize a 7-page script.
  2. Make 5 copies of finished script and the Capstone Script Development Pitch cover-page
  3. By the last weekday of February or October, bring all copies to Media Arts Project Coordinator, who will distribute to faculty.
  4. All scripts will be evaluated by the departmental writing committee. Following this evaluation, students will be notified by email and informed regarding the status of their scripts. If the department passes on a script, it is not approved to move forward. If the script is approved, the individual initiating the project will be invited to attend the Script Development Pitch.
  5. At the pitch date, those selected will have a scheduled 15-minute presentation with the faculty. You will have 5 minutes to present your capstone script and to propose your participation as the Project Liaison. You may use any means to do so, but it must be only 5 minutes long. The remaining 10 minutes will be spent in a question and answer session. Be prepared to answer questions regarding project scope, intent, distribution, as well as your graduation plan.

Following the Script Development pitch, faculty will select no more than two scripts to continue into project development. Applicants will be notified within 24 hours of the pitch.

Download

Script Development Pitch Cover Page

For fiction capstones. Applicants should complete this form, and return it to the Media Arts Production Coordinator with attached 7-page script by the last weekday of October or February.
After approval at the Script Development Pitch, the project has 3 blocks to complete Pre-Production, Production, and Post-Production. This is begun in both a Fall and Winter semester rotation. The Fall capstone rotation is advised by faculty member Jeff Parkin, and the Winter rotation by faculty member Tom Russell.

Capstone Rotation

After the Script Development Pitch

If the project is not approved, the applicant may continue to rework the script or another script and apply again at the next semester’s Script Development Pitch.

If approved, the project will continue to the Project Development phase. This phase includes crew assembly and pre-production. The process entails:

  1. Applicant should revise the script, particularly based on comments from faculty.
  2. Crew up. Find and begin assembling key crew members. (Casting and Locations departments should not delay, and must round out their crews immediately and get all department members registered for first block.)
  3. Directors should register for the TMA 473 class, Producers should register for the TMA 387 class, and all key crew members should register for the class corresponding to their roles. Please refer to page 5 for class registration details.
  4. The project is given an initial $500 of funding at the beginning of the 1st Block for initial development. This money will be made available in your BYU account with the Business Office.
  5. The project prepares for the second pitch, or the Greenlight Pitch. This involves pitching for Film Committee & Fulton funding, for equipment access, and to move into Production, based on the preparations shown in Pre-Production.

– Faculty Decide on which two scripts move on to development: After all the pitches, the faculty will discuss which two scripts will continue to the development phase. You will be notified by email the day after your pitch if you were selected to move on.

During the semester before the Greenlight Pitch, Capstone directors and producers need to put together a crew to work on the project. Key Crew members positions should be filled first. They should be the people with more experience and ability to mentor less experienced crew members. Each person working on a Capstone needs to register for class credit. A student should register for a number of credits depending on how many hours they are planning on spending on the project. The suggested number of credits each crew position should register for is located in a chart below under the section “Crew Class Enrollment.”

Crew Organization and Scope

Once approved for development, the applicant may begin assembling a crew. Key Crew Members should be advanced students with some production experience, as well as vetted academic eligibility. All key crew members must also have taken TMA 187. Because these are departmental peer mentoring environments, Project Liaisons are strongly encouraged to ensure that less-experienced students in the program are extensively involved and capably mentored by department heads and key crew personnel.

Crew Eligibility

Key Crew Members include: Director, Producer, UPM, 1st AD, DP, Production Designer, Gaffer, Key Grip, Costume Designer, Hair/MU Supervisor, Sound Designer, Sound Editor, Post-Production Supervisor, DIT, Editor, Locations, and Casting.

Applicant and Key Crew Members must be in good academic standing.

“Good Academic Standing” means:

  • Students must be regularly attending class, maintaining at least a 3.0 GPA overall and a “C” grade in each of their TMA classes (this includes during production).
  • Students will be required to register for an amount of class credit corresponding to the amount of commitment and time required to fulfill each role. See grid below.
  • Involvement in this project must move Key Crew Members toward graduation. If the applicant or Key Crew Members are deemed to be unnecessarily delaying graduation, they will not be approved to serve on the project. Additionally, all access to University resources is terminated upon graduation, and each student must complete their role in conjunction with the project before graduation.

If any faculty member knows of any other reason for specific students not to be involved on capstone projects, they may need to remove them from the project.

Crew Class Enrollment

All key crew members that work on a capstone project must register for associated class credit. This serves to reward them academically for their efforts, as well as make their crew responsibilities more accountable through a grading process.

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*Be aware that you will not be able register for 2nd block credit until after project approval at the Greenlight Pitch. This means that those needing to fill credit hours for scholarships, etc must find other ways to do so.
• If non-Media Arts students are serving in a Key Crew role, they still must sign up for class credit. Rather, they will be registering for TMA 215R Credit.

To register for 387 credit:
1) Sign up for the TMA 387 class as soon as the project is approved at the Script Development Pitch.

To register for 372R/215R credit:
1) Go to the TMA front office and pick up the “TMA On-Campus Apprenticeship/Internship/Project Application” packet.
2) Fill out your “Specific Learning Activities” associated with your crew role.
3) Get signatures from the 387 instructor as well as the Media Arts Production Coordinator.

At the end of the first block, the project pitches to the faculty again, in the Greenlight Pitch. The purpose of this pitch is to request funds, request access to TMA equipment and facilities, and to be greenlit to move forward into the Production Phase and complete the capstone project.

Download

Greenlight Pitch Cover Page


Applicants should complete this form and attach it to the front page/cover of their Pitch Packet.

Preparation for the Greenlight Pitch

The Director’s TMA 475 instructor and the Producer’s 387 instructor will help prepare them for the pitch.
These preparations include:

  1. The project as a whole and each individual department should be making preparations to film and making progress in conceptualization, pre-visualization, fundraising, casting sessions, locations scouts, etc. Production Meetings should be in full swing.
  2. Preparing a pitch packet. This pitch packet consists of: Project Synopsis, Script, Complete Crew List, Shooting Schedule, Budget, Calendars, Fundraising Plans/Progress, and statements regarding meeting the aims of a BYU Education and creating a peer mentoring/educational environment.
  3. Filling out the Greenlight Pitch Cover Page. Attach the cover page to the front of your pitch packet. The pitch packet and cover page must be made into 13 copies, and given to the Media Arts Production Coordinator to distribute in faculty boxes 2 days prior to the pitch.
  4. Preparing a pitch binder. The pitch binder contains essentially ALL preparations made up to that point. It’s an extremely comprehensive binder that shows preparation and attention to detail in every department—including each department’s research notes, references, conceptuals, and any other pertinent breakdowns, schedules, budgets, or releases. It should have sections from the Director, Casting, Locations, Design, Wardrobe, Hair/MU, Sound, FX, Camera, Grip/Electric, Craft, Fundraising, and Post-Production. It should additional contain crew member’s resumes and Deal Memos. This binder will be brought to the pitch, and passed around the table between faculty members. They may see fit to ask you questions regarding what they see in the binder.

The Greenlight Pitch

The Greenlight Pitch takes place at the end of the 1st block of each capstone track. (Generally, at the end of February and middle of October.) For each capstone project, the Director, Producer, and Screenwriter should plan on being part of the pitch, with other select key crew members on standby.

The Greenlight Pitch is a 20-minute pitch. You have 10 minutes to pitch your project (time usually split between a Director and Producer), and then another 10 for a question and answer session.

After the Greenlight Pitch

If the project’s preparations are deemed incomplete or inadequate, or if there has been insufficient progress on the project, the faculty may decline greenlighting the project. In this case, crew members will receive credit for their educational efforts through the completion of the first block and will be invited to fill positions on other capstones if they so choose.

If the project is approved, members of the project will continue onto the 2nd block, which includes finishing Pre-Production preparations and moving into Production. Specifically, students will:

  1. Set up a meeting with Jennie Brown in the TMA office as soon as possible. She is the liaison to help set up the transfer of money to your account, schedule shooting days, connect you to Access, MotorPool, etc.
  2. Have all crew members sign up for 2nd block credit immediately, before the 2nd Block Add/Drop deadline.
  3. Continue holding Production Meetings and moving into production.

CAPSTONE PROJECT FUNDING

Funding for capstone projects come from five different sources:

  1. Development Funds ($500). This fund comes from TMA endowment monies, and is awarded into a BYU account after approval at the Script Development Pitch.
  2. Personal Funds. As part of their participation and involvement, it is expected that all Key Crew Members will personally contribute $25 to the overall budget of the project. This check is to be written to the department upon agreement to be a Department Head, and money to be put instantly in the project account. This is similar to a class or textbook fee.
  3. Fulton Funds grant process (up to $1000). This funding is associated with the TMA Department, but must be applied for separately. Details at the front office.
  4. Film Committee Funds (up to $2000). This funding is approved and appropriated at the Greenlight Pitch.
  5. Independent fundraising efforts. Fundraising is a necessary and expected component of the individuals working on the capstone project, to be overseen by the project’s Producer. Fundraising events of any kind (bake sale, concert, party) can be held anytime after approval at the Script Development Pitch, during Block 1 of your capstone track. Often, tax-deductible fundraising can be securely accomplished through a project group-funding website, like Kickstarter or IndieGogo. However, as this money is specifically fundraised to back a film project (with no other services attached), it cannot be spent until after approval at the Greenlight Pitch.

As you fundraise, keep in mind that the maximum budget for capstones is $7000. Through the department, you can be awarded up to $3500, and your own independent fundraising efforts should total no more than an additional $3500.

CAPSTONE ACCOUNTS

The Development Funds, Film Committee Funds, and Fulton Funds awarded to a capstone are all managed in an account at the school. Each capstone project will have it’s own account, managed in the Business Office (part of the Visual Arts office) by Thaylene Rogers. Through this account, you will have access to:

  1. A purchasing card for your capstone. This is a credit card maintained by the school, but made available to be checked out for a few hours or few days at a time, to be used by a capstone project. It is imperative that all receipts be turned in for any purchases made on this card. All receipts need to be itemized, and turned in within 1-2 days of purchase. If students do not submit a receipt, they are responsible to reimburse the school for their purchase with their individual funds.
  2. Reimbursements. Often for capstone projects, students make purchases on their own cards and then are reimbursed by the school. Thaylene can help you with student reimbursements. Please note that these reimbursements may take several weeks, and students need to know that they can’t be reimbursed immediately. Once again, it’s crucial that students provide all original receipts. Bank account or credit card statements do not suffice. Students will not be reimbursed for anything they don’t have a receipt for.
  3. BYU purchases through the account number. Purchases made through other BYU departments (such as MotorPool truck rentals, BYU Catering) will need to go through your account number.

SCHEDULING SHOOTING DAYS

Each project is allowed 4 shooting days, with an additional 2 days for pick-ups. Projects typically are scheduled for two successive weeks of Friday-Saturday shoots. Capstone project shooting days cannot be scheduled in conflict with: regular weekday class schedules, Sundays, holidays, university reading days, finals, or during General Conference. Shooting days should not exceed 12 hours. It is never permissible for crew members to skip class for a shoot. When scheduling shooting days, this is important to keep as the highest priority. We recommend that crews be large enough to have swing crews, or staffed with overlapping schedules to allow everyone to attend their classes as necessary. Additionally, shooting hours should be scheduled to ensure that BYU vehicles (including the truck/grip trailer) are not driven between 12am-6am, and not at all on Sundays.

EQUIPMENT

Every crew member that will be handling departmental equipment needs to be sufficiently trained on all equipment they use. For help in determining eligibility and proper training, feel free to contact Access managers. Every capstone project needs to go through the Access procedures to finalize equipment accessibility.

  1. On the day of your Greenlight pitch, the Project Liaison should also attend Access. (This can be arranged through the Access manager.) Though this will be a few hours prior to the pitch, you will pitch for equipment use contigent on your approval at the Greenlight pitch.
  2. Set up the project reservation through Ashwire with MAL area heads. If any equipment is damaged or lost, please report it immediately. The school may ask whoever is responsible for the damage to contribute to help repair the item, or purchase a new one.

MOTION PICTURE STUDIOS FACILITIES

Occasionally, there is a chance for capstone projects to use resources or facilities at the LDS MPS. However, there are other associated procedures and guidelines concerning this use. Project Liaisons (or any other member of the crew) should never personally contact anyone at the MPS to arrange to film there or use any resources. Instead, they should contact their faculty advisor, who will lead them through the process.

 

After production, most of your crew will be done with the capstone project. You need to make sure you have their paperwork, including Crew Deal Memos. You also need to make sure they have completed all paperwork with the department, including their evaluations and paper for their 387, 372R, or 215R class.

The project has 1 block to complete its post-production processes, including picture lock, ADR, foley, color correction, music composition, final sound mix, final exports, and final deliverables due.

FACILITIES

The TMA Department owns several facilities available for use in Post-Production, by qualified and eligible students. These include:

  • Open Lab: contains basic post-production and editing software (open to all)
  • The Pocket: contains a sound booth, and can be scheduled to record ADR, Voice Over, or Foley
  • The Cave: includes high-end editing, color-correcting, DVD printing/duplicating, and other software needed for post-production and distribution
  • Studio E: contains high-end sound editing and mixing software

FINAL PROJECT DELIVERABLES

  • Final shooting script
  • Final budget (with all purchases and balances)
  • Copies of signed Release Forms, Crew Deal memos, and Locations Agreements
  • All other licenses and clearances (for music, must include royalty-free, unlimited use in synchronization with the Project in perpetuity)
  • Final Cast & Crew List
  • HD Master Quicktime file (to be on the XSAN, then put on an LTO tape)
  • 3 DVDs of final cut of film • Behind-the-scenes high resolution still photographs for promotional purposes
  • Behind-the-scenes video clips in high resolution QuickTime format for promotional purposes
  • Ultimately, the project needs to submit all deliverables to the Media Arts Production Coordinator, at the end of each corresponding production phase. All materials need to be turned in the last day of finals of the Post-Production Block. [/toggle]

CAST & CREW SCREENING

After the completion of the capstone project, the department will help sponsor a Cast & Crew Screening for your capstone in the block following Post-Production. This event should be kept a “Cast & Crew Screening,” rather than a “premiere,” as to avoid conflict with film festival submissions that require a premiere at their festival.

BYU FINAL CUT FILM FESTIVAL

We invite capstone projects to submit to our own BYU annual film festival, Final Cut. This festival is held in April, with submission deadlines in the beginning of March.

STUDENT OWNERSHIP OF INTELLECTUAL PROPERTY

Students (a “student” is a person enrolled in BYU courses for credit) who independently develop intellectual property arising out of their participation in programs of study at the university will retain the ownership rights to such property when the intellectual property does not result from their employment at BYU and/or where there is no written agreement to the contrary. Students employed by the university will be treated in the same manner as similarly situated university personnel. However, any student not employed by the university, but either (i) engaging in research or development of intellectual property under the supervision and direction of a faculty member in connection with a program or activity subject to this policy or (ii) using substantial university resources in connection with a research program or activity agrees to grant and hereby does grant to the university, as a condition of being allowed to participate in the project and/or use university resources, a non-exclusive, perpetual, royalty-free, paid-up, irrevocable license to exploit, use, and sublicense the resulting intellectual property. Faculty using students, whether volunteer, non-employed, or employed, in their scholarly work projects should have the students sign a “Student Assignment of Ownership and Nondisclosure Agreement” form, available from Intellectual Property Services.

If in the event that either the Student or the Department would like to distribute a student’s project with the purpose of gaining revenue, the two parties will meet to discuss how revenue is distributed or shared.

TMA CREATION & VIEWING POLICY

Part 1.  Introduction

This document presents principles and policies which guide media use and creation and use in BYU’s Department of Theatre and Media Arts. Following this policy will allow us to provide students intellectual and character building experiences within the framework of the Gospel.

Part 2.  Background and General Principles

The Aims of a BYU Education  (Aims) specifies a BYU education should be “spiritually strengthening, intellectually enlarging, character building, leading to life-long learning and service” and requires that students “seek for perfection and eternal life” and that “these characteristics are best instilled and nurtured in students when they have the opportunity of exercising them in challenging settings under the direction of the Spirit.”  To become spiritually strong, as well as intellectually literate, Media Art students must know and be conversant with relevant historical and contemporary media “texts.” More importantly they must learn to be vigorous in their search for and discernment of truth.  A BYU graduate will not have received anAims  education if s/he leaves without spiritually- grounded critical, theoretical and practical skills, as well as practice in interpreting and evaluating the highly complex aesthetic, moral and stylistic elements in media texts.

This section provides background on concerns about the nature of decision making and how media texts (in particular how Hollywood films classified with a MPAA “R-rating”) are selected, viewed, and created as part of curricular activities.  Media Arts faculty carefully consider historical, moral, and intellectual relevance as they select films and film clips for curricular uses.

The issue could impact the quality of education in the following ways:

  • limit student preparation by restricting the use of visual texts that are recognized internationally as classic aesthetic and social documents, and required viewing for an equivalent BA degree in any other four year institution of higher learning.
  • inhibit faculty intellectual and spiritual stewardship and efforts to provide spiritual, historical and cultural education and development of critical thinking skills in an intellectually challenging and spiritually based environment.
  • put faculty members’ efforts at academic rigor and student preparation in open conflict with ecclesiastical authorities.
  • escalate on-campus differences where edited, R-rated Varsity Theatre screenings are considered acceptable but sometimes faculty in-class selections are questioned.
  • create a shibboleth out of the MPAA ratings standards, although these guidelines make no attempt at serious critical evaluation based on sound aesthetic or moral values.

This situation is not dissimilar to that faced by science professors who are required by their professional discipline to prepare students in the theory of evolution or any other topic not considered compatible with LDS theology.  A student in the sciences cannot very well leave this campus with a degree and expect to excel in industry or education without knowing these associated ideas and theories.  Here, however, the challenge in media arts is not abstract ideas but realistic images.

Formulating a policy can often create as many problems as it resolves, but we believe there is a need to offer some guidelines for in-class curricular use and creation of media.  The University’s Mission Statement and The Aims of a BYU Education  document a sure foundation.  The Aims  document provides a flexible set of principles that challenge individual faculty and students to reach higher in fulfilling their intellectual and creative stewardships within clear, spiritually-related criteria.  If the Aims  document’s four central principles–”spiritually strengthening, intellectually challenging, character building, leading to lifelong learning and service”–are used as touchstones in the selection, viewing, discussion, and creation visual material, we will able to:

  • strengthen intellectual freedom and spiritual agency by requiring a heightened sense of responsibility from both faculty and students: “Students need not ignore difficult and important questions.”
  • identify the Aims’   four central touchstones as selection criteria, as each principle is given appropriate weight within each viewing, discussion, and creative experience.
  • appeal to a standard higher than that of the industry’s MPAA rating guide.
  • provide a framework within which faculty and students can “reason together” with clear criteria, without resorting to debilitating conflict: “Keep balance in your lives.  Beware of obsession.  Beware of narrowness.”
  • require faculty and students to explore and wrestle with complex historical, social, political, and creative issues in a spiritually strengthening setting: “A BYU education should bring together the intellectual integrity of fine academic discipline with the spiritual integrity of personal righteousness.” Character comes from students growing more broadly and deeper with a spiritually and intellectually challenging perspective.
  • assist students in moving beyond easy answers and platitudes by becoming tolerant, open-minded, and self-reliant in partnership with faculty members: “Students who graduate from BYU should be capable of competing with the best in their fields.”
  • provide students with principles that are part of their “life-long learning and service,” which will bless them, their families, and their communities.

This is designed to raise the standard by balancing the secular with the spiritual in both analytical and creative contexts (the viewing as well as the creation of visual media), not an attempt to construct intellectual license.  The key is an educational environment that allows the student to understand concepts, ideas, and theories within the context of the Gospel of Jesus Christ.  It is the process of critically studying relevant ideas, texts, and processes and creating visual media within a Gospel setting, to build strength and character, as students grapple with the challenges of integrating cultural issues and values within the spiritual framework of the Gospel.   This is needed by both professionals and families to contend with the onslaught of visual media that is no longer restricted to the movie theatre but finds its way into the home on wave and wire.

Choices should be made in the spirit of Elder L. Tom Perry’s guidance in the 1997 April Conference: “We do not need manmade rating systems to determine what we should read, what we should listen to or how we should conduct ourselves.  What we do need to do is live worthy of the continued companionship of the Holy Ghost.” It is Moroni who gives the criterion that should govern our interests to teach and inspire students: “For behold, the Spirit of Christ is given to every man, that he may know good from evil, . . .” (Moroni 6:16).

Part 3.  Guidelines, Responsibilities and Grievance Process

To advance the mission of Brigham Young University by providing students with a broad university education firmly grounded in the Gospel of Jesus Christ, the Media Arts Program has developed the following guidelines to “help students think clearly, communicate effectively, understand important ideas in their own cultural tradition as well as that of others, and establish clear standards of intellectual integrity” (Mission of Brigham Young University).   The following principles guide selection, viewing, teaching, study, and creation of media materials within the Media Arts program:

1.  Faculty and students accept the Aims  principles, “spiritually strengthening, intellectually enlarging, character building, leading to life-long learning and service,” as touchstones for evaluating, selecting, viewing, discussing, and creating (written and visual) media material.

2.  The Aims’ principles as they apply to Media Arts will be introduced and discussed with students in advance of students’ application to the program, and the principles’ purpose and program rationale will be clearly presented in the “Media Arts Student Handbook.” Faculty will continue to find strategies to bring these principles into critical and creative course syllabi.

3.  The selection and cataloguing of the department’s purchased and produced video and laser disc library housed in the HBLL Learning Resource Library will be governed by the same Aims  principles.

4.  The Media Arts viewing lists will be guided by the Aims’  principles: (1) the “Media Arts Master Viewing List” will outline film, television, and multi-media listings that all students should be familiar with and from which could be drawn material for classroom presentation and discussion, and (2) the “Media Arts  Select Viewing List” will introduce students to other media that students should be historically aware of but not required or encouraged to view.

5.  In-class viewing of historically and conceptually relevant media will be governed by:

  • carefully evaluating all available options before selecting any film or film clip.
  • appropriately contextualizing, the presentation’s historical or aesthetic importance within a spiritual framework of the Aims  document.
  • consider carefully the age and maturity of students, in particular in introductory, “Classic Cinema,” and General Education courses, by employing a “milk before meat” philosophy.
  • limit more thematically challenging material to advanced course work for students who are more mature and have more experience with fundamental spiritual and critical skills and carefully contextualize these ideas and themes using the Aims’ principles. This applies as well to texts used as part of student prepared in-class presentations and creative writing and productions.

6.  Student and faculty work, both in written and visual form, will follow the sameAims’ criteria.  Creative projects must be “spiritually strengthening, intellectually enlarging, character building, leading to life-long learning and service.”

7.  Everyone involved in each teaching situation will be sensitive to the spiritual well-being of all; great caution will be used so as not to “offend” the innocent.

Part 4.  Responsibilities and Grievance Procedure

Responsibility of Faculty

  1. To carefully choose required and optional texts (written and visual) in keeping with the course requirements and aims of a BYU education as outlined in the Aims document.
  2. To encourage the creation of written and visual media that is in accordance with theAims principles.
  3. To provide a context for the study of texts (visual and written) that strengthen students’ critical and creative awareness of historical, cultural, technological, and aesthetic dimensions and enable them to understand the larger value ofstudying and creating works that may include some potentially disturbing elements.
  4. To be considerate of and respond to student concerns respectfully and, where feasible, to provide alternative assignments to students with conscientious objections.

Responsibility of Department

  1. To insure that course syllabi and texts are consistent with the curriculum and in harmony with department and University missions.
  2. To guide new faculty in designing courses that are appropriate to the BYU environment and to counsel with faculty who are challenged consistently with issues related to selection of visual materials.
  3. To assist students and faculty in resolving disputes about reading assignments or teaching styles, and to defend both students and faculty against unreasonable demands or reprisals.

Responsibility of Students

  1. To make good-faith efforts to understand and accommodate the purposes of the specific course and general curriculum in light of the intellectual and creative challenges outlined in the Aims document.
  2. In the event that a particular assignment seems objectionable, to discuss the matter with the teacher and request an alternative assignment.
  3. If the matter cannot be satisfactorily resolved with the teacher, to follow the prescribed grievance procedure.
  4. To thoughtfully select appropriate media texts and methodologies for course- related work, such as in-class presentations, analysis assignments, and creative projects.

Grievance Procedure

Occasionally faculty and students may disagree about the appropriateness of a particular media text or assigned material may have an unintended negative impact or a student may feel that his or her expectations are not satisfactorily filled.  To prevent these difficulties and to deal with conflicts that may happen, the following grievance process will be followed.

In the spirit of Doctrine and Covenants 42:88, students should first take their concerns to the teacher and attempt to resolve the matter “between him or her and thee alone.”  Students who feel that their concerns have not been satisfactorily met by the teacher should go next to the program administrator or department chair or other assigned departmental grievance officer.   In some cases, the department may require a written statement of the grievance.  If the grievance cannot be resolved at the department level, it should be referred to the dean’s office.  Grievances that cannot be resolved at the college level will be referred to the University administration.  A written statement is required for any grievance that goes beyond the department level.   College and University administrators will generally not respond to complaints until earlier levels of review have been completed.