The Manifesto presents fifteen key statements on videos in higher education. The statements were motivated by the fact, that videos play a larger role in higher ...
MANIFESTO Videos in Higher Education
A cooperation of:
MANIFESTO Videos in Higher Education
PREAMBLE This manifesto is an overview of the opinions and feedback shared by the experts involved. It is the result of a creative ThinkTank and cannot be attributed to the opinion of a specific expert, organisation, or University. The Manifesto presents fifteen key statements on videos in higher education. The statements were motivated by the fact, that videos play a larger role in higher education today than ever before. Yet there are still no convincing standards established. This manifesto neither aims to present a finalized answer to the challenges of video in higher education or state an infinite truth. It's was rather written in an effort to raise the awareness on the topic for continuing and fruitful discussions. Therefore, its goal is to reflect the current landscape of university productions and advance scientific educational video development in the future.
The first draft of the Manifesto was designed by educational filmmakers, digital learning specialists and e-learning content experts from the EPFL Lausanne, ETH Zurich, FHNW Basel, LMU Munich, HSG St.Gallen and Leuphana University in a two-day ThinkTank at FHNW Basel, Switzerland. Further, the outline was again presented to other interested individuals from the League of European Research Universities (LERU) E-Learning thematic group on a three-day workshop on Video in Higher Education at the Chiemsee, Germany organised by LMU Munich. This “Version 1.0” of the manifesto was finalized by Jeanine Reutemann (Research Fellow at the Centre for Innovation, Leiden University) and Armin Rubner (Director of the eUniversity: Concept Development and Services at Ludwig-Maximilians-Universität München).
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HAVE FUN, VIDEOS CAN BE SEXY If you don't enjoy the creativity of the production process, how can you expect your viewers to enjoy watching your videos?
WHY AND WHEN VIDEO
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Ask if video is a suitable medium for the content, purpose and learning goal; Consider its length and style, and make use of the inherent richness of the characteristics if the medium.
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Video is not always the right medium.
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nt richness of the medium.
► ► Video is not always
CHARACTERISTICS OF VIDEOS AS MOVING IMAGES
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Video as a time-based medium offers certain specific characteristics: use the power of images to visualize the invisible; recombine images and sounds in a unique way; visualize your arguments; the rhythm of montage defines the dynamics. Audiovisual rhetorics meets scientific education.
is consumption, mos eo
learning experience of a lecture in a classroom and a
eds to be taken into account. ne
e social and emotional aspect
. us
nt. The classroom experience is a social learning setting, the vi d
► Th
► The
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arning video are fundamentally diff le
CLASSROOM VS. / AND VIDEO The learning experience of a lecture in a classroom and an educational video are fundamentally different - for the lecturer as well as for the students. Learning can take various paths. Video consumption is an autonomous process that should not replace social learning settings.
tly autonomo
nfolds dif f
u so c io c
► Receptivity of videos is dependent on the individual
s.
Learning is always contextualized. The reception of videos is dependent on the individual sociocultural background of the recipient, which unfolds differently in different contexts. Think about the involvement of the learners.
xt te
LEARNERS AND GOALS ARE SITUATED
differe n t co n
ground back ,w l a r h ltu
in tly en er
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LEARNING EXPERIENCES AS STORYTELLING Stories create a more immersive learning experience. Spend more time on creating a narrative storyboard and script based on the content, examples or argumentations. There are few good videos without a (at least decent) storyboard.
na r r a tive stor
yboard based on t
exam ple o r arg umen tatio ns.
wi
th
s ing learn rent diffe te a crea
deo s
t storyboard. S decen tor a t ie ou
ex p
e hardly any go od v i
er i e n c ng a e. Spe nd more time on creati
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ar ere Th
, ent ont he c
VIDEO PRODUCTION VALUES SHAPE THE QUALITY OF LEARNING EXPERIENCES The quality of a video is determined and constrained by storytelling, editing, performance, sound, cinematography, framing, props / s cenery, and technical equipment, to name a few.
ct
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ti di
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tr ns co
nd u so
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ed in m
d
r te de is
an
ography, prop m at s e n ci
efa
/ scen ar y,
art
ideo
y of a v
ualit ► The q
rfo ma n ce ,
BOTH SIDES OF THE CAMERA
► Video
made and
killed the lecture star
On one side: Filmmakers can support or hinder the performance of a lecturer. The individual production setup strongly influences the performance of a talking Head. On the other side: It all comes down to the educator's performance skills. Speaking faster does not make your video more dynamic. Practice is a must.
e, ag es s em th ►
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on
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Be
COLLABORATIVE PROCESS DESIGN AND CO-AUTHORSHIP
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ur o y l il
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ng i l r a
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Film making is never a
If you d
go
run
Filmmaking is never a one-mans-how. If you do not want to collaborate, write a book.
o not wa
oneman show
am
nt to col
ara
tho
n.
laborat
e,
more
of
yo ur
c e video mor
e
d ck A la
or ga n
re a
tiv e . A nd w i t hl
ss b u
►
Formalizing the distinct stages of decisionmaking is key to defining necessary skills and allocating available r esources. A lack of organisation does not make your video more creative. And with less budget the video does not get more creative either. But with a better organisation, the full creative potential of video might be realized with a smaller budget.
cr e a tiv e her. eit
TRANSPARENCY OF VIDEO PRODUCTION
t g et
t the video e g
s no e do
does
isatio n
ke a not m
ct du o pr
les sw o in the preproduction, production and po st „We'll fix it in postproduction“ is a nogo.
The better the Preproduction, the
We're just kidding. Ask yourself a few questions: is the educator happy, is your audience happy… is the cat safe? If reception wasn't ideal, don't worry - making learning videos is also a learning process and that means practicing, practicing, practicing and gaining experience, it means learning and finally getting better and better at it.
► Key
PRODUCTION IS DONE … NOW START OVER AGAIN
rule in filmmaking:
rk
ion.
d Vi ►
bu t
ca
nl
ive
f
or
e r.
ev
No one is born a master. There is a long-established history in scientific educational filmmaking, dating back to the very beginning of moving images. Read, watch and learn – and contribute to the further development.
t last f ore ve r
don' s eo
RIDING ON THE SHOULDER OF FILM-GIANTS
THEORY MEETS PRACTICE
a
ory
edia design i prac
s
t a the
Practice; play; cooperate.
M ►
en tic o
Knowing all the rules and theories about education and filmmaking will not immediately make you a great educational filmmaker. There is no onesize-fits-all approach to videos in higher education.
WORLD'S COLLIDE!
e persp uniqu
ec
ce the mbra lide! E ds col
tives of those involved in the prod
u
rl ► Wo
Embrace the unique perspectives of those involved in the production processes. They might even shape your own thought processes.
ght pro ur tou o y e p en sha ight ev m y e s. Th ocesse r p n o c ti
cesses.
Filmmakers; educators; learning experience designers; nerds; technicians…
Ca nd for the university.
—
n
FUTURE KNOWLEDGE LEGACY
►
Vid eo s, i
nc lu
di ng
al
arte
of, a s ct fa
Not all videos last forever but - but some do. Videos - including yours are historical artefacts of and for the university archives to conserve. Can you live with that?
ur o y
s,
r ic isto h e ar
live with that? u yo
IMPRINT Version 1.0 by Jeanine Reutemann (Centre for Innovation, Leiden University) Armin Rubner (E-Referate, Ludwig-MaximilianUniversität München) Layout and design concept by Isabel Lina Christen A special “thank you” goes to: All the wonderful people who co-created this manifesto! Jörg Wiesel & Nicolaj van der Meulen The initiation of this project was kindly supported by the Foundation Gebert Ruef [Science and Design]. (under the research project “Audiovisual Media Design
This manifesto is licensed under the creative commons license CC BY-SA. but all remixes must adhere to the same type of license and credit this version.) May, 2018
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