Honours Bachelor of Producing for the Creative Industries

Applying for Ministerial Consent Under the Post-secondary Education Choice and Excellence Act, 2000

The Secretariat Postsecondary Education Quality Assessment Board 315 Front Street West 16th Floor Toronto, ON M7A 0B8

Tel.: 416-325-1686 Fax: 416-325-1711

E-mail: [email protected]

sheridancollege.ca

Section 1: Introduction

1.1 College and Program Information

Full Legal Name of Organization: Sheridan College Institute of Technology and Advanced Learning

URL for Organization Homepage (if applicable): http://www.sheridancollege.ca/

Proposed Degree Nomenclature: Honours Bachelor of Producing for the Creative Industries

Location Trafalgar Campus, 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1

Contact Information: Person Responsible for this submission: Name/Title: Melanie Spence-Ariemma, Provost and Vice President, Academic Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x4226 E-mail: [email protected]

Name/Title: Joan Condie, Dean, Centre for Teaching and Learning Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x2559 E-mail: [email protected]

Site Visit Coordinator (if different from above): Name/Title: Ashley Day, Coordinator, Program Review and Development Services Full Mailing Address: 1430 Trafalgar Road, Oakville, Ontario, L6H 2L1 Telephone: (905) 845-9430 x5561 E-mail: [email protected]

Honours Bachelor of Producing for the Creative Industries | 2

1.2 Table of Contents Section 1: Introduction ...... 2 1.1 College and Program Information ...... 2 1.2 Table of Contents ...... 3 1.3 Executive Summary ...... 5 1.4 Program Abstract ...... 38 Section 2: Degree Level Standard ...... 39 2.1 Depth and Breadth of Knowledge ...... 39 2.2 Conceptual & Methodological Awareness/Research and Scholarship ...... 41 2.3 Communications Skills ...... 41 2.4 Application of Knowledge ...... 42 2.5 Professional Capacity/Autonomy ...... 42 2.6 Awareness of Limits of Knowledge ...... 43 Section 3: Admission, Promotion and Graduation Standard ...... 44 3.1 Admission Requirements for Direct Entry ...... 44 3.2 Admission Policies and Procedures for Mature Students ...... 44 3.3 Promotion and Graduation Requirements ...... 45 3.4 Advanced Standing Policies and Requirements ...... 45 3.5 Degree Completion Pathways ...... 46 Section 4: Program Content Standard ...... 47 4.1 Professional Advisory Council ...... 47 4.2 Professional Accreditation ...... 53 4.3 Learning Outcomes ...... 54 4.4 Course Descriptions ...... 60 4.5 Course Schedules ...... 65 4.6 Work-integrated Learning Experience ...... 68 4.7 Course Outlines ...... 74 4.8 Degree Completion ...... 74 Section 5: Program Delivery Standard ...... 75 5.1 Quality Assurance of Delivery ...... 75 5.2 Student Feedback ...... 79 5.3 Web-facilitated, Hybrid and Online Delivery ...... 80 Section 6: Capacity to Deliver ...... 81 6.1 Learning and Physical Resources ...... 81 6.2 Resource Renewal and Upgrading ...... 94 6.3 Support Services ...... 95 6.4 Faculty ...... 97 6.5 CV Release ...... 99 6.6 Curriculum Vitae of Faculty Delivering Core Courses ...... 100 Section 7: Credential Recognition Standard ...... 101 7.1 University Credential Recognition ...... 101 7.2 Industry Credential Recognition ...... 106 Section 8: Regulation and Accreditation Standard ...... 124 ( Section 9: Nomenclature Standard ...... 125 (

Honours Bachelor of Producing for the Creative Industries | 3

Section 10: Program Evaluation Standard ...... 126 ( Section 11: Academic Freedom and Integrity Standard ...... 127 ( Section 12: Student Protection Standard ...... 128 12.1 S tudent Protection Regarding Academic Calendar ...... 128 12.2 Student Awareness of Policies and Procedures ...... 128 12.3 Resolution of Students’ Academic Appeals, Complaints, Grievances, and/or Other Disputes . 128 12.4 Student Dismissal ...... 128 12.5 Current Academic Calendar ...... 129 Section 13: Optional Material ...... 130 13.1 Proposed Program Map: ...... 130 13.2 Foundational Skills Summaries and Matrix ...... 131 13.3 Environmental Scan ...... 137 Section 14: Policies ...... 161 ( References ...... 162 (

Honours Bachelor of Producing for the Creative Industries | 4

1.3 Executive Summary

Figure 1. What is a Producer? (as cited in Vogel & Hodges, 2006)

The coveted title of producer often elicits the questions “Just what is a Producer? What do they actually do?” They have a prominent place in the credits of a film, theatre or creative project, and to the observer watching or reading those credits they may indeed wonder, what does it take to become one and how do I do it? This degree is the answer to those questions from a potential student; an unwrapping of the multiple layers of a complex position in the creative industries and the subsequent journey to become the “rare, paradoxical genius” that Oscar Hammerstein II describes.

A producer brings to their position the ability to write, convey ideas, develop teams, manage people, determine logistics and budgets. They may also be the business force behind the success of a production through arranging financing. They may be the people driver behind the team that has been built, or they may be the creative ideator who has the passion and leadership to steer their concept to the screen or stage through pitching, developing, and securing the necessary partners to bring the intellectual property into production. They do some or all of the above duties.

Producers can be both team members and team leaders. They may start as Production Coordinators or Managers, the individuals who co-ordinate and manage aspects of a production. From junior positions of Production Coordinators, Associate Producers, Segment Producers, to higher level Production Managers, Show Runners, Line Producers, Senior, Supervising Producers and Executive Producers, a producer’s role is multi-faceted in the areas of creative development, production management, people

Honours Bachelor of Producing for the Creative Industries | 5

skills, and/or financial acumen. Their key skills define them as the person who is able to juggle many hats. A production cannot happen without a producer. Despite this, there are virtually no opportunities within the educational system for training individuals to develop the skills and knowledge of the producer in his/her roles.

The purpose of the Honours Bachelor of Producing for the Creative Industries is to address this important educational and industry skills gap. There is currently no competing degree program that offers the unique synergies of specialization in the creative industries that this degree offers, preparing producers to work in a combination of animation, theatre, game development, film, television and digital media environments. Industry members corroborate that this is a unique program for which there is an obvious need. It will result in graduates who are able to navigate both the business and creative needs of the industry. These sentiments are echoed by the Ad Hoc Professional Advisory Council, a group of high ranking leaders from within the creative industries and the business community in Ontario (see section 4.1.1). Members consistently and unanimously applaud Sheridan’s initiative to launch a program exclusively dedicated to supporting Ontario’s creative economy through the dedicated development of producers.

This interdisciplinary degree program echoes the description of the creative industries by the United Nations Conference on Trade and Development as “the crossroads of the arts, culture, business and technology. In other words, they comprise the cycle of creation, production and distribution of goods and services that use intellectual capital as their primary input” (UNCTAD, 2008, p. iv). A producer is at the core of this cycle in each of the creative industries. The producer is the locus of the creative endeavour required to transform this intellectual capital into a tangible creative economic product.

In the broad context of the creative industries there are many sectors that can be considered such as crafts, publishing, design, music, advertising, photography, interactive media, performing arts and the visual arts, to name a few (UNESCO, 2013). Students are introduced to this broad spectrum in the first course as they explore the history of the creative industries through current, regional, national and global perspectives. After this introductory overview, the program focuses on the creative industries that are supported by Sheridan’s arts specializations:

1. animation, 2. theatre, 3. game development, or 4. film, television and digital media.

Students study these streams for two years before specializing in two of these streams in the upper years of the program. Students continue to develop and adapt their producing skills to respond to emerging trends in the creative industries. Today they might include virtual reality (VR), augmented reality and mixed reality or in the future

Honours Bachelor of Producing for the Creative Industries | 6

they may be concepts unknown at this time. The program will have a strong link to Screen Industries Research and Training Centre (SIRT), a leader in research and training of emerging technologies, and Sheridan Centre of Excellence. It is expected this relationship will support the currency of the proposed degree, alongside the bi- annual PAC meetings.

Producing for the Creative Industries guides students through the process of becoming a multi-faceted producer. The program is grounded in the art of storytelling, allowing students the opportunity to explore diverse storytelling approaches to connect with their audiences. This is combined with courses dedicated to building students’ competence in business management and human resourcing; the full spectrum of a producer. Ultimately, the program prepares graduates to balance the creative needs of the story with the business needs of the production. This program emphasizes best practices and industry standards that respond to emerging trends, in both domestic and global markets, giving students a critical world lens to the marketing and distribution of intellectual properties in the creative economy.

Sheridan plays a significant role in the creative industries through the delivery of multiple programs in the arts. Further, creativity is embedded as a pillar in all of Sheridan’s faculties, with the recognition that creativity and innovation are core 21st century competencies. Producing for the Creative Industries is a natural outgrowth of this philosophy. The program is jointly offered by the Faculty of Animation, Arts and Design and the Pilon School of Business. The Faculty of Animation, Arts and Design offers 32 programs across the creative spectrum; each one is dedicated to providing premiere arts education. The Pilon School of Business offers 20 diverse programs. The mission of the Pilon School of Business is to build resourcefulness, innovation, and practical skills in students. This collaboration between the Business and Arts Faculties is a first for Sheridan and offers the opportunity to capitalize and build on existing expertise and educational excellence.

The contribution of a new degree focused on the creative industries helps build upon Ontario’s expanding creative economy by providing skilled graduates, ready to enter the workforce. “The Conference Board estimates that the culture sector’s economic footprint was $84.6 billion in 2007, constituting 7.4 per cent of Canada’s gross domestic product (GDP). Employment in the culture sector exceeded 1 million jobs” (The Conference Board of Canada, 2008, preface). At a provincial level, “culture also supports the economy through direct and indirect job creation. In 2014, culture contributed about $25.3 billion, or nearly four per cent, to Ontario’s GDP, supporting almost 280,000 jobs” (Ministry of Tourism, Culture and Sport, 2016, p. 8).

As documented in the 2016 World Economic Forum Report on the future of jobs, “social skills (collaboration, persuasion, teaching and emotional intelligence) will be in higher demand than narrow technical skills” (World Economic Forum, n.d., p. 3). This was further substantiated in the 2018 World Economic Forum Report on the future of jobs,

Honours Bachelor of Producing for the Creative Industries | 7

which reinforced the critical nature of these skills, indicating the trend by 2022 to include “analytical thinking and innovation, active learning and learning strategies, creativity, originality and initiative, technology design and programming, critical thinking and analysis, complex problem-solving, leadership and social influence, emotional intelligence, reasoning, problem-solving and ideation” (World Economic Forum, 2018, pp. 12, table 4).

This degree checks all of those boxes, meeting all of the key skills and demand trends identified by the 2018 World Economic Forum Report analysis. The degree provides graduates with the key foundational social skills of communication, teamwork and leadership, as well as organization and planning, critical thinking and research, problem solving and ideation. These skills will help cultivate the emotional intelligence needed to succeed in the creative workplace (see section 13.2).

Communication was identified by the Ad Hoc PAC (meeting minutes Oct. 2015) as the number one foundational or soft skill required as a producer. The ability to network, negotiate and communicate effectively across a variety of international cultures and demographics, in both business and creative environments, is essential for a producer. Similarly, teamwork is a foundational skill that is emphasized throughout the program, along with organization and planning, leadership training, critical thinking, creative problem solving and research. These skills are integral to many production roles in the creative industries. A Foundational Skills Matrix (section 13.2) maps these practical and emotional intelligence skills to program courses. These competencies will both strengthen student performance and assist students in achieving success in the workplace, making them more competitive in national and global economies, and positioning them as industry leaders and entrepreneurs.

Emotional intelligence is at the heart of the opening description of a producer by Oscar Hammerstein II. When he refers to the “hard-headed, soft-hearted, cautious, reckless…the stern pilot in stormy weather” (Vogel & Hodges, 2006) and alludes to trusting intuition while being a realist, he is essentially speaking to the emotional intelligence and leadership skills that are sought after in producers. Without a supporting education, it could take years of experience to develop these important transferable skills, as noted by an Ad Hoc PAC member who earned multiple degrees to acquire the necessary producing skillsets (referenced further in section 1.3.6 Key Differentiators). This degree promotes a growth mindset in students within an educational setting.

1.3.1 Alignment with Government Directives Provincial The degree is very much in alignment with the goals of Ontario’s first Culture Strategy, developed in 2016 by the Ministry of Tourism, Culture and Sport. The Strategy,

Honours Bachelor of Producing for the Creative Industries | 8

developed after consultation and contribution from thousands of Ontarians, demonstrates the value of arts and culture as “an essential part of individual and community wellbeing” (Ministry of Tourism, Culture and Sport, 2016). The Strategy, aims “to promote cultural engagement and inclusion, strengthen culture in communities, maximize the contributions of culture and creativity to our knowledge economy and promote the value of the arts throughout government” (Ministry of Tourism, Culture and Sport, 2016, p. 4). The Bachelor of Producing for the Creative Industries aligns to this provincial initiative in a variety of ways. The degree aims to:

• promote cultural engagement and healthy communities by connecting students directly with creative industries, local productions and cultural communities through industry workshops, guest speakers and internships; • balance business management and creative intellectual property development, as well as maximize the potential of its graduates to contribute to the knowledge economy through its focused and thorough curriculum; • promote the value of telling our stories by demonstrating the cultural and economic significance and audience potential on both domestic and global stages.

Promoting cultural engagement and inclusion, the first goal of the Strategy, is emphasized in the very first year of the program with focus placed on cultural diversity through inclusive storytelling. The exploration of varied approaches to storytelling and narrative structure on multiple platforms gives students the opportunity to discuss and research the methods by which our Canadian culture is exhibited and reflected in different production formats. Stories of all Canadians are important; they can form the platform of an intellectual property that can be successfully developed to communicate the experiences of our diverse population, including our original Indigenous voices.

The Ontario Culture Strategy highlights that “opportunities to experience arts and culture should be available to everyone, and our diverse voices should be heard and celebrated” (Ministry of Tourism, Culture and Sport, 2016, p. 4). This approach reflects the needs of a healthy community, the third identified strategy in the report. Notably, contributing to healthy communities is also part of Sheridan’s ongoing commitment in its Strategic Mandate Agreement with the Ministry. The Canadian Index of Wellbeing (2016), also highlights how a rich cultural foundation is a hallmark of a healthy community.

Creative thinking and innovation are discussed in the Culture Strategy as “essential qualities in the knowledge economy and vital to Ontario’s future growth and prosperity” (Ministry of Tourism, Culture and Sport, 2016, p. 8). Students in this degree undertake creative problem solving approaches through design thinking, building foundations to take leadership and producing roles as their careers develop in the creative and knowledge economies. The degree delivers graduates who have “the essential qualities

Honours Bachelor of Producing for the Creative Industries | 9

in the knowledge economy and [are] vital to Ontario’s future growth and prosperity” (Ministry of Tourism, Culture and Sport, 2016, p. 8). This degree supports the discussion in the Ontario Culture Strategy that “…culture is a fundamental, organic and vital part of our lives and our community life. Participation in arts, culture and recreation is an indicator of quality of life…” (Ministry of Tourism, Culture and Sport, 2016, p. 7). This degree is committed to contributing to the health and wellbeing of Ontario’s citizens, communities and its creative economy.

Federal Investing in arts and cultural organizations was noted as a priority in the 2016 Federal Budget. “Investing in Canadian cultural and creative industries allows Canadian artists to share their stories at home and abroad. Budget 2016 provides $1.3 billion over 5 years, starting in 2016-17 to support longstanding arts and cultural organizations” (Government of Canada, 2016, table 5.1). The degree supports that cultural investment from an educational perspective. Notably the federal government commits “to creating social-issue documentaries, animation and digital content. Budget 2016 provided the National Film Board of Canada with $13.5 million” (Government of Canada, 2016, table 5.1). It has also invested $550 million in the Canada Council for the Arts. This budget funds new content production resulting in an implicit need for producers at all levels.

The desire and need to showcase Canada’s cultural industries to the world was also identified in the Budget. “Canada’s cultural and creative industries are a vibrant part of our economy and national identity. Our artists, producers, composers and technicians are world leaders in their fields” (Government of Canada, 2016, p. 186). Promoting Canadian culture and creativity on the world stage will be supported by developing more producers capable of navigating that international stage through the strategic development and production of creative projects.

Further to this mandate, in September 2017, the Honourable Mélanie Joly, Minister of Canadian Heritage announced an agreement with Netflix that reflects the federal government’s commitment “to growing our creative industries with new investments that create opportunities for creators and producers across the country to make great content that stands out” (Canadian Heritage, Government of Canada, 2017, p. 1). In making the announcement, the Minister said:

This agreement – the first of its kind in the world – will ensure the investment of more than $500 million in original production in Canada in both official languages. It signals a meaningful partnership in supporting Canadian creators, producers and Canadian creative work, and in bringing that work to millions of viewers around the world (Canadian Heritage, Government of Canada, 2017, p. 1).

This announcement further reflects the important alignment of Producing for the Creative Industries with the federal government’s cultural strategy. A robust creative

Honours Bachelor of Producing for the Creative Industries | 10

industry sector is a strength to both the provincial and federal economy. The importance of these revenue streams for both the federal and provincial governments is highlighted in further data below.

1.3.2 Alignment with Labour Market Demand Current trends in the labour market support the expectation from Ontario’s Culture Strategy that:

The creative economy is expected to become even more important to Ontario’s prosperity, as we continue to shift from a manufacturing and resource-based economy to one dependent on knowledge and innovation. Digital content is constantly evolving and introducing new possibilities, such as augmented and virtual reality. Digital technology and distribution are creating new opportunities for our artists and creative-sector entrepreneurs and transforming the traditional cultural industries (Ministry of Tourism, Culture and Sport, 2016, p. 23).

As the creative marketplace continues to grow and expand (as evidenced by GDP numbers in the creative streams below), this degree is well-positioned to respond to that growth by contributing graduates able to create and develop intellectual properties, that are then developed into productions that support the creative economy.

The Ontario government labour market report from January 2017 indicates that the areas of arts, culture, recreation and sport had the second largest job increase at 30,900 jobs. The first category was management at 41,200 jobs (Ontario, 2017).

The potential benefit of the degree to the creative economy is substantive. Each of the four creative streams within the degree program, as listed earlier, have been developed to capitalize on existing Sheridan strengths and to leverage an opportunity to fill a gap in labour market demand.

Animation Creative Stream – Economic Impact and Labour Market Demand Graduates following the animation creative stream will find themselves in a rapidly growing segment of the creative industries. According to a Nordicity report examining the economic impact of the computer animation and visual effects industry in 2014, in Ontario there is a total economic impact of $449.5 million (Nordicity, 2016). The report indicates that there has been robust growth since 2010 in employment, overall company revenue and GDP impact, with the direct economic impact doubling in the four-year period between 2010 and 2014 (Nordicity, 2016). The labour market continues to expand with these industries leading “to the employment of approximately 6,750 full- time equivalent jobs (or FTEs) in the Province” (Nordicity, 2016, p. 5). Animation industry leaders are keen to draw upon a qualified pool of graduates.

Honours Bachelor of Producing for the Creative Industries | 11

Figure 2. Quote from Helen LeBeau, VP, Nelvana (personal communication, n.d.)

Game Development Stream- Economic Impact and Labour Market Demand The notable size of the gaming industry offers students choosing this specialization opportunities, both domestically and internationally. On a national basis, Canada is the third largest market in the gaming industry, led by the United States and Japan (Entertainment Software Association of Canada, 2013). Canada is home to several top videogame developers, including Ubisoft with locations in Montreal, Quebec City, and Toronto; Electronic Arts in Vancouver, Montreal and Edmonton; and GameLoft in Montreal and Toronto. Social game publisher Zynga and Rockstar Games have also set up digital gaming studios in Toronto. Investments from the provincial government assist these companies to grow and contribute jobs and economic impact to Ontario (Statistics Canada, 2014). There were a total of 596 active companies in the gaming industry in 2017, which is an increase of 26% in a two-year period (Nordicity Group Limited, 2017). The majority of these companies are located in Ontario, Quebec and British Columbia.

“The total revenue among video game companies in Canada in 2017 is estimated at 3.2 billion” (Nordicity Group Limited, 2017, p. 26). The industry employs an estimated 21,700 full-time equivalents (Nordicity Group Limited, 2017). The industry report further indicates a need to hire all levels of seniority over the next two years, including 2,300 senior level employees (Nordicity Group Limited, 2017).

When discussing the size and nature of the video game industry, it is important to note its global reach. As noted in the Nordicity report published in 2017, “the global video game industry continues to grow at a rapid pace” (p. 5). The global games market will generate $116.0 billion in game software revenues (2017), growing 10.7% compared to 2016. The current growth of the global games market is expected to continue with expected revenues of $143.5 billion in 2020 (Wijman, 2017). Growing production numbers mean an increased demand for producers throughout the production pipeline. Producers are integral to driving the success of a gaming concept.

Figure 3. Quote from Warren Currell, CEO, Sherpa Games (personal communication, n.d.)

Honours Bachelor of Producing for the Creative Industries | 12

Film, Television and Digital Media Stream- Economic Impact and Labour Market Demand Students considering the Film, Television and Digital Media stream will be launching into the fastest growing market the industry has seen in Ontario to date. Both employment and economic impact numbers reflect an all-time high in the last two years. The increase in the film and television industries has seen a surge in labour demand, both nationally and provincially. “Production volume in Canada reached an all-time high of $8.38 billion in 2016/17. This 24 per cent rise in volume over the previous year helped generate 171,000 full-time jobs and added $12 billion to the country’s GDP” (Canadian Media Producers Association, 2018, p. 1). In Ontario, film and television production contributed $1.7 billion to the provincial economy in 2016, compared to 874 million in 2005 and supported over 35,000 jobs. This is an increase of nearly 3,200 jobs compared to 2015 (OMDC, 2016)

In February of 2017, Toronto Mayor John Tory called the film, television and digital production industries a “key economic driver” for the city that “enhances our reputation as a home to creative industries” (Cameron, 2017, p. 1). In the Toronto area, the city is on target to break its production record – over $2 billion in revenue (Wong, 2017). The new television series Star Trek: Discovery boasts a “mammoth 46,000-square-foot sound stage, the largest such purpose-built facility in North America” (Wong, 2017, p. 1). A new 30,000 square-foot movie studio is also being built in Toronto. “The new studio is expected to be a game changer for the Toronto market since it will feature a unique, technologically advanced special effects stage” (Wong, 2017, p. 1). “Toronto is North America’s third largest screen-based production centre with a full scope of industry connections, services, suppliers, talent, crew, facilities and locations delivering everything required for success in pre-production through post production” (Toronto, 2018, p. 1).

Industry leaders recognize the important contribution graduates will make to this quickly expanding industry.

Figure 4. Quote from Gregoire Bonhomme, Director, Entertainment, Media and Digital Media, Royal Bank (personal communication, n.d.)

Theatre Stream – Economic Impact and Labour Market Demand Sheridan is currently playing a significant role in supporting the development of a vibrant theatre community in Ontario. The Canadian Music Theatre Project is an international centre of excellence for the development of new Canadian musicals. Since its inception

Honours Bachelor of Producing for the Creative Industries | 13

in 2011, over 15 shows have been incubated and continue their development in various stages. Four have enjoyed professional premieres including Come From Away which opened on Broadway in 2017. It received seven Tony Award nominations, winning one for best direction. It also received a Grammy Award nomination for Best Musical Theatre Album. It has earned over $60 million on Broadway and has advance ticket sales of over $25 million for the new Toronto production (Nestruck J. , 2018).

In a recent random telephone survey of 1000 Canadians conducted by Nanos Research, 88% of Ontarians indicated that theatre is important to community development. Eighty-three percent of Ontarians believe that theatre attracts visitors to communities and 73% of Ontarians believe theatre attracts new businesses to communities. This belief that theatre supports the economic health of local communities was supported across Canada (Nanos Research, 2015).

Theatre, as a creative industry, is a significant contributor to Canada’s GDP and provides employment in significant numbers.

In 2014, there were 393 theatre companies, 67 musical theatre and opera companies, and 248 venue-based performing arts presenters in Canada. The industry contributed $1.8 billion to Canada’s GDP and generated approximately 49,000 jobs in 2010. Average household spending on live sports and performing arts events was $126 in 2013, a 40 percent increase over the figures from the previous year ($91) (Logan, 2015, p. 21).

Forty-three percent of Canada’s artists live in Ontario. This encompasses creative industries such as dance, music, theatre, visual arts, media arts, and literary arts, as well as interdisciplinary, multidisciplinary, and emerging art forms (Communications MDR, 2016).

Students choosing this stream in the Bachelor of Producing for the Creative Industries will be contributing their creative and business skills to working on new creative theatre projects.

Figure 5. Quote from Michael Rubinoff, Producing Artistic Director, Canadian Music Theatre Project (personal communication, n.d.)

Creative Industry Economic Impact and Labour Market Demand Conclusion The link between labour market demand, available educational programs and potential employment are important factors to recognize. The Honours Bachelor of Producing for

Honours Bachelor of Producing for the Creative Industries | 14

the Creative Industries addresses a market need identified by industry representatives showcased in the feasibility study. Producers and directors are “expected to experience above average job openings in Ontario between 2014 and 2022. Employment growth is expected to be excellent…” (Academica Group, Inc, 2015, p. 12). Historically, Sheridan has enjoyed a high level of employer satisfaction for its degree programs. For example, an independent website describes the Animation program as “one of the most respected schools in the world by students and other schools alike! Businesses approve of Sheridan, too; 93% of Sheridan's graduates satisfy their employers after receiving a degree here” (Franczak, 2017, p. 4).

Graduates of Producing for the Creative Industries benefit from the health of the sector. The growth of labour markets in the provincial creative economy means that graduating students will be well positioned to support this economic driver by entering into existing productions or through their entrepreneurialism in developing their own intellectual properties.

1.3.3 Alignment with Sheridan’s Strategic Mandate Agreement Strategic Mandate Agreement (2017-2020) The Strategic Mandate Agreement (SMA) between the Ministry of Training, Colleges and Universities and Sheridan outlines the role of the College in Ontario’s post- secondary education system and the ways in which Sheridan can build on its strengths to achieve its vision, and support system-wide objectives and government priorities. This section demonstrates the manner in which the Honours Bachelor of Producing for the Creative Industries fits within the institutional priorities, as defined in the 2017- 2020 SMA agreement.

The Honours Bachelor of Producing for the Creative Industries aligns with the planned expansion in programming in Business and Digital Media and supports the cultural sustenance of Healthy Communities through its storytelling focus. It operates within five of the eight program areas of strength identified in Sheridan’s SMA (2017-2020), including Business, and the creative industries of Animation, Digital Media, Visual and Performing Arts, as well as supporting the maintenance of Healthy Communities.

Institutional Aspirations This proposed degree supports Sheridan’s institutional aspirations as follows:

1. Diverse program mix; degree offerings: This degree offers a new interdisciplinary opportunity that intersects business management and the creative processes involved in producing and storytelling, supporting a strong culture, which reflects our rich and complex communities.

Honours Bachelor of Producing for the Creative Industries | 15

2. Scholarship, Research, and Creative Activities (SRCA): Producing is a creative activity; this program challenges students to research, discover, and create intellectual properties that tell stories about ourselves and our creative vision.

3. Access and student success through pathways and partnerships: Upon a review of the curriculum, Queen’s University, York University, Schulich School of Business, and Ryerson University in Ontario, as well as the Irish National Film School (IADT) in Dublin, have agreed to accept applications for competitive admission to graduate studies from Sheridan graduates of this proposed program.

Improving the Student Experience Sheridan recognizes that student success is uniquely defined by each learner. Sheridan’s student success model encompasses six dimensions: • Identifying or discovering career and personal goals • The development of the whole person • An ignited passion for learning • The mastering of skills and capabilities • A student experience filled with incremental milestones and successes • Academic and professional achievement

Innovation in Teaching and Learning Excellence Innovative efforts include pedagogical approaches, program delivery and student services that contribute to a highly skilled workforce and ensure positive student outcomes. This is a highly collaborative program. Students will develop teamwork and leadership skills through many opportunities to work with peers and students from other related FAAD programs. They will assume producing roles on production teams populated with students enrolled in Sheridan film and television, game design, theatre and animation programs

Supportive and Inclusive Admissions and Entry Sheridan provides admissions and entry processes that facilitate access for qualified students across target groups including, but not limited to: mature applicants, newcomers to Canada, and Indigenous learners. Applicants must submit a resume detailing their curricular and extra-curricular activities, highlighting experience in leadership roles. Applicants must also produce a piece of work that communicates the applicant’s intent and aspirations. This component can be a written submission, film, or other mixed or multi-media presentation. In this way Sheridan can screen applications to admit those who have shown an aptitude for leadership and creative endeavours.

Honours Bachelor of Producing for the Creative Industries | 16

Institutional Approach to Applied Research Excellence and Impact Sheridan’s institutional approach to applied research excellence and impact is based on a well-established culture of scholarship, research and creative activities (SRCA), which is inclusive, broad, and engages Sheridan’s students, staff, professors and the communities it serves. Sheridan’s primary objectives are to deliver compelling value to students, provide exceptional professional growth opportunities for faculty, and deliver substantial economic and social benefits for the province.

Sheridan will advance its commitment to SRCA by actively encouraging and supporting faculty and student involvement. This will include further embedding SRCA across its curriculum, enhancing and tracking its community/industry connections, engaging more visibly with the outside scholarly community and creating a new framework that effectively balances teaching, SRCA, and service work of faculty. In this program the research and creative activities will relate mainly to the development of intellectual properties into stories that can be produced for a relevant audience using an economically sustainable development process.

Institutional Approach to Innovation, Economic Development and Community Engagement At Sheridan, incubating innovation, fueling economic development, and nurturing community engagement occurs through the institution’s commitment to creativity, collaboration, experiential learning, and a strong sense of shared purpose with industry and community partners.

To incubate innovation, Sheridan begins with the premise that creativity is the precursor to innovation. This degree is built on a foundation of story development. Each story concept is a potential intellectual property that can be developed creatively into a compelling story for a relevant audience. A business case will be built for each potential production. The producing process lies at the intersection of creativity and sustainable business operations.

Sheridan has adopted a unique approach to embedding creative problem solving into its curriculum and applied learning opportunities, challenging students to re-imagine ideas, experiment, collaborate, take risks and build a resourceful, resilient, and flexible mind. Each degree student has the opportunity to focus on creativity and creative problem solving through the selection of specific non-core elective courses.

Institutional Collaborations and Partnerships Sheridan values lifelong learning and believes that intellectual and imaginative growth continues throughout the lifespan. This commitment is reflected in its career-focused programs, its partnerships with other postsecondary institutions, initiatives that promote efficiency through shared services, and the myriad of pathway opportunities it has developed. Universities in Ontario and internationally, such as Ryerson University in

Honours Bachelor of Producing for the Creative Industries | 17

Toronto and the National Film School at the Institute of Art, Design and Technology (IADT) in Dublin, Ireland, have agreed to accept applications for competitive admission to graduate studies from graduates of this proposed program. Moving forward, Sheridan will work purposefully to build new relationships and pathways as opportunities arise for this degree. A goal is to assure the utilization of existing pathways by helping prospective and current students leverage their education and experiential background to ensure the timely completion of credentials and continued lifelong learning.

Strategic Areas of Program Strength and Expansion Program areas of strength 1. Animation 2. Business 3. Computer Science 4. Digital Media 5. Design 6. Engineering Technology 7. Visual and Performing Arts 8. Healthy Communities

Program areas of expansion 1. Business 2. Computer Science 3. Digital Media and Design 4. Engineering Technology 5. Healthy Communities

The Honours Baccalaureate Producing for the Creative Industries degree is a component of the planned expansion in programming in Business and Digital Media and supports the cultural sustenance of Healthy Communities through its storytelling focus. It operates within five of the eight agreed Sheridan program areas of strength including Business, and the creative industries of Animation, Digital Media, Visual and Performing Arts as well as supporting the maintenance of Healthy Communities.

1.3.4 Academic Plan The Honours Bachelor of Producing for Creative Industries aligns to the six academic priorities identified in Sheridan’s 2017-2022 Academic Plan. • To build community by embodying Sheridan’s unique character • To advance quality teaching and deep learning through inclusive, learner- focused design and academic support services that embrace the diverse strengths of our students.

Honours Bachelor of Producing for the Creative Industries | 18

• To cement our commitment to polytechnic education by promoting and supporting scholarship, research and creative activities • To fuel academic and career success by cultivating curiosity, a passion for growth and learning, perseverance, fun and a sense of purpose. • To enhance the student experience through programs, services and space design • To develop an operational culture of planning, accountability and continuous improvement

The Honours Bachelor of Producing for the Creative Industries program aligns with the 2017 to 2022 Sheridan Academic Plan’s Core Themes of unique character, advanced quality, and accountability as well as the Academic Priorities. Sheridan has delivered a premier professional education since its establishment 50 years ago, demonstrated through world renowned programs in animation, art and design as well as more recent programs in business. Delivery of innovative, interdisciplinary, cutting edge programs informed by technology, is part of the character of Sheridan. The Honours Bachelor of Producing for the Creative Industries advances this Sheridan tradition of leadership and innovation by offering an innovative degree program supporting this growing economic sector in Ontario.

Professional education ensures that graduates of Sheridan programs are resilient, versatile and self-sufficient, which prepares them for the constantly evolving labour market. Given that creativity and innovation are predicted to be the most sought-after employability skills in the future, this program positions students for success. Innovation and creativity are core to the program in response to the evolving ideas and emerging technologies in the arts and business.

The goal of the Academic Plan is to realize exceptional student learning experiences. In the Honours Bachelor of Producing for the Creative Industries program, the process of delivering these experiences includes integrating creativity and innovation into state of the art curriculum design, development and delivery. Also included, is experiential learning, the modeling of collaboration, research and reflection, and industry relationships.

The following addresses the Academic Priorities and areas of focus for the Honours Bachelor of Producing for the Creative Industries program:

Academic Plan Priorities 1. Build community by embodying Sheridan’s unique character. Areas of focus: Creativity, Communication, Collaboration

The Honours Bachelor of Producing for the Creative Industries program fosters creativity with innovative storytelling through intellectual properties (IP) developed within collaborative teams. The character of this program is defined by its ability to create an

Honours Bachelor of Producing for the Creative Industries | 19

intersection between the arts and business in support of the producer’s role in IP development.

2. Advanced quality teaching and deep learning through inclusive, learner- focused design and academic support services that embrace the diverse strengths of our students. Areas of focus: Learner focused, technology-enhanced Learning, work-integrated learning, faculty development, internationalization strategy

Learner Focused The Honours Bachelor of Producing for the Creative Industries curriculum is focused on the art and business of storytelling. The importance of process in learning, allows students to appreciate the value of openness to new possibilities and ideas. It supports the development of life-long learning and curiosity, which is valuable in an emerging and evolving professional career. This process orientation reflects industry need for the critical ability to adapt to constant change. Risk taking and experimentation are valued in the industry as they allow professionals to develop innovative products and opportunities. The communications design and learning methodologies used in the program engage students in creativity through play and experimentation in the development of Producing for the Creative Industries projects. Within these developmental projects, students develop the collaboration and interpersonal skills needed to succeed in a professional environment.

The curriculum is designed to enable students to explore their individual interests and strengths, as they discover possibilities in four segments of the creative industries. By year four, students will have had the opportunity to draw upon on three years of learning and creative activities. These experiences can be incorporated into an understanding of their personal goals to help identify the focus of their future career and the focus of their capstone work in the final year.

Technology Enhanced Learning Students engage with technology as part of a core learning experience in the program, understanding its role in storytelling and media innovation. In addition, essential elements of all courses in the program are delivered through the Sheridan’s SLATE learning management system.

Students move among professional calibre studios shared with other programs, with advanced tools and technology, as part of their learning experience. Students research story ideas and develop intellectual properties under the mentorship of faculty and industry partners. The enhanced learning in the Honours Bachelor of Producing for the Creative Industries program mirrors industry practice, preparing graduates with the skills and knowledge they require for career success. Resources are assessed regularly and updated to reflect best practices across the creative industries, locally and internationally.

Honours Bachelor of Producing for the Creative Industries | 20

Work-Integrated Learning Work integrated learning is integral to all aspects of curriculum delivery in the Honours Bachelor of Producing for the Creative Industries program. As a studio and project- based program, with a fourteen-week internship, experiential methodologies are consistently integrated into the delivery of the program. Work integrated learning opportunities are provided for students to engage with industry partners, professional standards, and innovative research inside and outside of the classroom environment as part of the learning experience. These include field trips, guest lecturers, workshops, and collaborative research projects. The success of students in their placements will be an indication of the effective results of these skills and experiences in the curriculum.

Faculty Development Faculty form part of the community of lifelong learners, modeling the importance of such behaviours and practices in advancing their professional growth to students. They are continuously investing in the development of knowledge and skills to maintain their currency. This includes their knowledge of new and emerging methodologies and technologies, which are tested by faculty and brought into the classroom for application and development with students. Faculty also expand their technological capabilities and currency by attending and speaking at conferences, leading workshops, and establishing industry partnerships. Their knowledge and networks contribute to research in curriculum.

Faculty research and exploratory practice, in their respective disciplines, as well as conference presentations contribute to and enhance the program curriculum and planning.

Internationalization Strategy The Honours Bachelor of Producing for the Creative Industries program includes an international focus and perspective in its curriculum and industry relationships. The program realizes the importance of preparing students for the global economy, as the marketplace for the Creative Industries is international. An international context for the practice of producing within the Creative Industries is embedded in the program through theory, history and studio courses, and diverse cultural perspectives encouraged through student projects. Some students may seek international placements and experience for their internships. The program will attract international students, ranging from North American, European and Asian countries and will work to build awareness outside of Canada. With a curriculum that is reflective of international representation and trends in the field, the program prepares students (both domestic and international) for global mobility following graduation.

The Honours Bachelor of Producing for the Creative Industries program prepares students for diverse and interdisciplinary areas of collaboration, creative problem

Honours Bachelor of Producing for the Creative Industries | 21

solving and resilience in the face of rapid technological and transformative change. The curriculum addresses the capacity for entrepreneurial thinking, which is necessary for professional career development in a global and competitive economy.

3. Cement our commitment to polytechnic education by promoting and supporting scholarship, research and creative activities. Areas of focus: SRCA engagement framework, community and industry partnerships

The Honours Bachelor of Producing for the Creative Industries program contributes to the Polytechnic composition of programs at Sheridan through the delivery of an internationally recognized degree program with a focus on research and creative activities in curriculum. The Honours Bachelor of Producing for the Creative Industries is an interdisciplinary program with curriculum that supports student involvement with programs within FAAD and PSB, and story development research activities conducted internally and with industry partners. The program contributes to scholarship through industry partnerships, work integrated learning, as well as curriculum and workshops that engage in creative activities.

Entrepreneurship is supported through curriculum and studio based workshops. Faculty guide students in the generation of innovative solutions that can lead to new experiences in the broader community. Curriculum in the program supports the development of research skills reinforced by internal and external partners. Potential internal partners include: Sheridan Screen Industry Research and Training Centre, and the Sheridan Centre for Elder Research. External partnerships will be established as the degree rolls out.

4. Fuel academic and career success by cultivating curiosity, a passion for growth and learning, perseverance, fun and a sense of purpose. Areas of focus: First-year experience, academic advising, student well-being strategy, pathways

The Honours Bachelor of Producing for the Creative Industries program fosters an environment for experimentation and play with learning spaces. This enable students to apply the knowledge and technology gained in the program to develop innovations that can lead to new producing employment opportunities and create new intellectual properties. From the beginning to the end students engage in collaborative and team based learning experiences through group projects and develop a sense of the roles and responsibilities required in industry. This culminates in the fourth year Production Capstone. Peer critiques are central to an iterative process of project development. Students will discover that the focus on play, experimentation, collaboration and reflection establishes a culture of cooperation, collaboration and teamwork in the program. Students will be better able to recognize the value of diversity among their peers and support peer learning to enhance their experience in the program. Integrating emerging methodologies and technology is critical to student learning. Program

Honours Bachelor of Producing for the Creative Industries | 22

technologists will support students in their learning and work with faculty to provide currency in state of the art professional standards.

There are partnerships between the program and areas within Sheridan to support student success, including advising support for students, and internships. Academic advising is available in the program but also connects students to other Sheridan services. The Program Coordinator and the faculty are available to students seeking academic advisement throughout their years of study in the program. The program is also supported by areas in the College such as the Student Advisement Center and the Office of the Registrar. Students who require counseling or services for non-academic issues are encouraged to seek support through Student Services. Faculty in the program partner with the Co-Op Office to reinforce the relationship between curriculum and the student internship which occurs after the third and before the fourth year in the program.

Currently, the program has no formal pathways in, but will review opportunities for Advanced Standing or PLAR on a case by case basis. Some students may come from prior post-secondary programs and achieve advanced standing for their breadth electives. Access to graduate studies is available to graduates. Queen’s University, York University and Ryerson University in Ontario, as well as the Irish National Film School (IADT) in Dublin, have agreed to accept applications for competitive admission to graduate studies from Sheridan graduates of this proposed program. Other possibilities for pathways will continue to be explored.

5. Enhance the student experience through programs, services and space design. Areas of focus: Student space enhancement, students’ engagement strategy (Student council, industry)

The Honours Bachelor of Producing for the Creative Industries program provides students access to academic support throughout their time in the program, experiential learning, enhanced technology and specialized spaces that mirror professional practice and prepares them for success in the program and in the industry.

Specialized spaces are required for the program curriculum. Sheridan supports interdisciplinary activities across programs, including the opportunity to work in spaces shared by aligned programs. Additional production space will be required in the fourth year of the program. The location of the production space will be considered through the Master Campus Planning Process. Students in all years of the program have access to the expertise of program technologists to support production of their projects.

The proposed program delivery is aligned to a 120 credit structure, more common to a university model. This proposed 120 credit model preserves the intensive studio

Honours Bachelor of Producing for the Creative Industries | 23

experience and creates a simplified delivery that can support pathways for post graduate or international transfers.

The program supports experiential learning through both industry partnerships in curriculum as well as supplementary workshops. Industry partners, including the Professional Advisory Council members, provide in class critiques for experiential projects and guest lectures. In the fourth year Production Capstone course, students may work with industry partners to develop real world projects. Faculty mentor students and support their engagement in industry related activities. In their final year of study, in concert with faculty, students conceive, strategize and execute a showcase of their capstone portfolios. This networking event invites an array of prospective industry employers. This experience provides industry connections and portfolio development in support of students’ career development.

6. Develop an operational culture of planning, accountability and continuous improvement. Areas of focus: People Plan (FT search, continuous development of international network), integrated planning (program review, annual reports, follow-up reports), operational effectiveness (resource planning and reporting).

Integrated Planning (Program Review, Annual Reports, Follow-up Reports) The Honours Bachelor of Producing for the Creative Industries has a strong commitment to a collaborative planning culture, accountability to students, industry, and Sheridan. Our focus on academic quality in a fast paced and continuously evolving industry drives the program’s dedication to ongoing collaborative processes, which foster continuous improvement.

Sheridan has a curriculum review process that draws on the expertise of a curriculum committee consisting of full-time and part-time faculty, as well as with the Program Coordinator, Associate Dean and the Professional Advisory Council to integrate feedback. The goal of this process is to ensure currency, relevancy and leadership in an emerging, technology driven field.

The curriculum committee meets at least once a semester and collaborates to identify opportunities and strategic direction across the curriculum. Data from major trends and feedback on student experience are reviewed and addressed, incorporating the student perspective across all years.

Annually, there is a more intensive strategic session, captured in an Annual Program Report, during which time program priorities and opportunities are reviewed to prepare for the following academic year, informing program goals and directions. Ongoing program review driven by consultation with stakeholders and data informs curriculum development and ongoing administrative planning to support the needs and enhance the experiences of students (ie. resources, including space and technology).

Honours Bachelor of Producing for the Creative Industries | 24

The continuous review of the Honours Bachelor of Producing for the Creative Industries program during its first years of delivery provide the opportunity to leverage the expertise and feedback of all stakeholders, including faculty, industry, and students, to further build the focus and efficiencies for the program. In concert with the Curriculum Committee, Program Coordinator, Associate Dean, and the Centre for Teaching and Learning (CTL), the existing curriculum will be extensively reviewed as part of the Program Review and Consent Renewal processes. Goals will be identified in an action plan in support of program continuous improvement.

Operational Effectiveness (Resource Planning and Reporting) The program contributes to a culture of accountability through shared spaces, cross appointed faculty and integrated planning for technology purchases across programs. The Program Coordinator and technologists work in concert with the Associate Dean to manage a planning process, that involves faculty, in prioritizing and arranging resources for curriculum.

The Associate Dean and the Academic Portfolio Administrator track information on all cost areas of the program, including curriculum resources, enrolment, scheduling and space, and Teaching Contact Hours to ensure that the program is able to make informed decisions and support the planning and budgeting process. All program expenditures are reviewed monthly with the Associate Dean, Academic Portfolio Administrator, the Program Coordinator, the technologists and the Program Support Officer. They maintain a spreadsheet that tracks planned and actual spending to ensure that budgets are met.

The Associate Dean works with the faculty and the program technologists to identify the resources required for the delivery of curriculum, such as software, materials, and technologies for documentation and user studies, for each year of the delivery of the program. To support informed and collaborative decision making, the curriculum committee will document and create a database of all program courses and their respective projects/assignments. This document captures the materials, technology and space requirements to deliver each course and allows faculty and program technologists to work with the Associate Dean to make informed decisions about planning of annual purchases and allocate resources across courses at all levels of the program. By maintaining detailed information on the course resource requirements, the program can work effectively with Sheridan systems to track costs, manage curriculum needs, conduct longer term planning, budgeting and allocation of resources. Using data maintained throughout the year and incorporating the program planning done in consultation with program stakeholders, the Associate Dean proposes the allocation of budgets each year, with the Dean and the Manager of Finance in the Faculty of Animation, Arts and Design, that meet the strategic objectives of the program.

Honours Bachelor of Producing for the Creative Industries | 25

1.2.5 Faculty Strength The Faculty of Animation, Arts and Design (FAAD) has been a leader in studio-based arts education since the inception of Sheridan in 1967, delivering world class programs. It is the largest applied arts school in Canada with 32 programs, 6,563 students and six Oscar-winning Alumni. Since 2002, FAAD has developed and launched a number of unique degree programs; the Animation and Music Theatre degrees as highlighted earlier, are among the most successful in Canada.

Two new degrees, Game Design (launched in 2013), and Film and Television (launched in 2014) have quickly established themselves, with student work garnering regional and national awards. The Bachelor of Game Design graduated its first cohort of 55 students in 2017, many of whom have already secured impressive positions within companies such as Ubisoft, Zynga and Game Loft. In addition, a number of long-standing and highly successful collaborative degree programs are offered through partnership with the University of Toronto at Mississauga (Art and Art History, Theatre and Drama Studies, and Communication, Culture, and Information Technology).

The FAAD art and design programs are recognized by the National Association of Schools of Art and Design and, according to the nomenclature for non-U.S. institutions, programs are described as substantially equivalent. Sheridan is the second institution in Canada, after the Alberta College of Art and Design, to receive this prestigious recognition. Articulation agreements have been developed with a number of other colleges and universities, including Griffith University in Australia, Fleming College and Ryerson University.

The Pilon School of Business (PSB) is committed to developing the whole student learner through discipline specific knowledge, work-integrated learning and in and out of classroom experiences to create graduates that will lead the Canadian industry throughout the 21st century. Its mission is to build resourcefulness, innovation and practical skills in students which can be seen by the various awards our students have earned from business case competitions and for leadership within their field of study.

With 4,800 students and 20 programs, the PSB offers a wide range of diploma, advanced diploma and graduate certificate programs in business, as well as full baccalaureate degrees in accounting, finance, marketing, human resources and supply chain management. The degree programs feature an innovative educational approach that guides students through critical, creative and reflective thinking through the use of a flipped classroom model of learning.

The Pilon School of Business is also offering a graduate certificate program aligned with the Honours Producing for the Creative Industries Degree called Creative Industries Management. This graduate certificate program is designed to enable those who have already developed competence in an artistic endeavor to acquire competence in

Honours Bachelor of Producing for the Creative Industries | 26

supporting business skills, to leverage business development in their areas of expertise in the arts.

The Honours Bachelor of Producing for the Creative Industries program is ambitiously building on the core values of these two faculties to champion interdisciplinarity. By combining skills in business, financial literacy, project and people management geared directly to producing, together with knowledge of different sectors of the creative industries, this program will offer students the opportunity to engage in a real-world, multifaceted learning environment. Faculty members from multiple programs in the two faculties will collaborate and engage on a regular basis in order to develop curriculum and academic delivery that reflects the latest industry practices, technology and software advancements. The program is committed to keeping abreast of the current and future needs of individuals, the creative industries and society at large.

1.3.6 Key Differentiators 1. A unique blend of arts, business, financial and leadership skills within a growing employment sector: Drawing upon the strengths of existing specializations at Sheridan, students are offered a learning experience that reflects industry needs (see section 4.1.1 – Ad Hoc PAC Minutes) through blending arts, business, financial and leadership skills.

The program map outlines how students acquire a strong historical and contemporary perspective of the creative industries, domestically and globally. Students have the opportunity to choose two areas of producing specialization from four distinct creative streams. That offering is not available in any other post-secondary program.

2. Unique synergies with existing Sheridan College programs: Producing for the Creative Industries builds on Sheridan’s unique position in post- secondary education in Canada. This program is a collaboration at Sheridan between the Faculty of Animation, Arts and Design and the Pilon School of Business at a degree level. This offers students faculty expertise from two typically distinct fields of study, creating a unique educational opportunity. As one Ad Hoc PAC member said at a meeting, “I wish this degree was around when I was in school. I wouldn’t have had to have taken three degrees to get the business and then creative understanding of the industry” (Andrew Barnsley, personal communication, January 2018). Students in all specializations will participate in industry events such as field trips and guest speaker events, exposing them to cutting-edge developments in all four creative industries, while also allowing them to see potentials from a transmedia perspective.

The degree provides the opportunity for students to have a unique exposure to four existing honours baccalaureate degree programs within the Faculty of Animation, Arts and Design: Music Theatre Performance, Game Design, Animation, and Film and Television. This allows students to experience student production environments that

Honours Bachelor of Producing for the Creative Industries | 27

mirror the workplace. Co-operation, teamwork and communication are interpersonal skills students will be able to practise and refine in this unique learning environment, preparing them for the workplace. The Ad Hoc PAC committee was especially keen on students emerging with these important foundational skills.

There will be a positive effect on other programs within the Faculty of Animation, Arts and Design. The elective courses are designed to provide students with the skills and knowledge necessary to assume a role as producer within that creative sector. Moreover, assignments aligned with courses that belong to the Bachelor of Music Theatre Performance, Bachelor of Film and Television, Bachelor of Animation and/or Bachelor of Game Design may be integrated into the Producing for the Creative Industries’ electives. Thus, for example, a student in Producing for the Creative Industries specializing in music theatre may work as a member of the production team, with a show being developed within the Bachelor of Music Theatre Performance program, while a student specializing in game development may work as a member of the production team with a group of students required to make a game in the third year of their program.

3. Niche combinations of learning and specializations: In the third year of the program, students choose two specializations from a roster of four possibilities. Students are able to specialize in applying and developing producing skills in the creative fields of animation, theatre, game development or film, television and digital media. By combining two specializations students have the ability and opportunity to hone their skillsets and develop industry ready portfolios that reflect their knowledge and capabilities in their chosen fields.

In their capstone project, the students may specialize in a single discipline or they may find novel ways in which to bridge between specializations to create unique intellectual properties. These benchmarks provide students with a broad spectrum from which to target employment possibilities.

The skills and knowledge are also transferable to a broad range of creative industries, thus opening the door for students wanting to explore other creative areas (e.g. event planning or producing live music performance). It makes these graduates appealing to employers – they are industry ready and able to apply their skills broadly. These niche combinations also allow graduates to be entrepreneurs within a given creative field, carving out their own employment opportunities through the development of stories as intellectual properties. This potential for graduate initiative is a boon to help sustain and build Ontario’s creative economy.

4. Integrated soft skill development: Soft skill development is carefully considered throughout this degree and highlighted through the Foundational Skills Matrix identified in this program. The matrix in section

Honours Bachelor of Producing for the Creative Industries | 28

13.2.1 visually demonstrates five of these skills and how they are scaffolded throughout the program.

Professional behaviors are a hallmark of a successful producer: timeliness, effective communication skills, team participation and management, self-motivation, effective decision-making, managing stress and deadlines, creativity and problem solving. These skills are the backbone strength of a successful producer, and the courses and evaluations are all geared to developing these skills for students throughout the four years. Repeated practice of these skills developed through challenging and varied production scenarios engages students in the broad range of soft skills listed above. These skills are tied to emotional intelligence and are widely seen as a foundation for successful work integration for graduates and employers. Further details about foundational soft skill development are noted in section 13.2.

5. Links to undergraduate research: The conception of research has evolved over the past eight years at Sheridan from Applied Research (AR) to Undergraduate Applied Research and Creative Activities to Undergraduate Research and Creative Activities (URCA) to Scholarship, Research and Creative Activities (SRCA). The changes are reflective of the refinement of our institutional paradigm for research in a unique undergraduate polytechnic institution. It is somewhat serendipitous that the Senate Standing Committee of URCA recommended the move to Scholarship, Research and Creative Activities at about the same time as the Postsecondary Educational Quality Assurance Board (PEQAB), which has oversight for our degrees at Sheridan, and incorporated this research model into its standards.

The current definition of applied research at Sheridan includes reference to the production and dissemination of creative work. Producing for the Creative Industries is fully committed to supporting and enhancing research in the creative process. This includes research for the majority of projects within the program. Students are required to research their production concepts, sourcing out historical, cultural, social and legal references that inform their production plans.

The program also reflects the potential of different approaches to research – applied, fundamental, or discovery research and creative production. Students take part in information gathering and analysis of information to predict trends and patterns. There is also research around developing a new intellectual property (IP) – such as environmental scans, viability, and sustainability.

Applied research is integrated into the degree through innovative curriculum streams for students to pursue opportunities for specialized and deep learning. Applied research is included in the program learning outcomes: Conduct primary and secondary research to assess new opportunities, emerging trends, and the viability of the creative endeavour.

Honours Bachelor of Producing for the Creative Industries | 29

Research skills are fundamental to the work of a producer: from marketing and demographic research that establishes and builds audiences, to targeting potential partners and funding sources; from investigating and testing the viability of concepts and properties through a variety of feedback-gathering methods, to planning the future viability of productions. The program addresses these essential project management and industry requirements with progressive development of research skills throughout the four years.

In Year 1, students are introduced to primary and secondary research in the contexts of storytelling and visualization, structuring effective arguments in essays and verbal presentations, and introductory production planning. Primary research within the creative industries can include creating and building stories based on consultation within communities as well as drawing inspiration from observation of people and communities.

In Year 2, they focus on formulating research questions; evaluating research methodologies; carrying out audience-development research; interpreting data; applying marketing analytics to production planning, and research ethics.

In Year 3, students put their research skills into guided practice as they develop production bibles (the critical collection of documents and data needed throughout all stages of a production) and sizzle reels in preparation for their internship placements. During their internships, students research industry-related questions to report on when they return to Year 4.

In Year 4, students incorporate research best practices in developing their capstone projects, including test screenings, play testing, and/or workshops, as well as investigating emerging trends in industry and financing sources.

6. Emphasis on emerging technologies and trends: Staying abreast of emerging technologies and their application in a production environment is critical for the currency of both faculty and students as they progress through the program. Emerging technologies are not only discussed but applied through industry software in applicable courses. The exploitation (marketing, distribution and exhibition) of intellectual properties on cross-platforms is investigated and applied in a variety of production scenarios. It is expected that emerging technologies will play a large role in the approach and delivery of a student’s final capstone project. In their final year, students have two emerging trend courses where new developments in the creative industries are explored.

Social media will be used as a tool in developing projects, where connecting and identifying an audience, as well as developing unique marketing strategies are explored. Social media will continue to advance in coming years and it is anticipated that it will

Honours Bachelor of Producing for the Creative Industries | 30

expand and change by program launch. This program is written in such a way that it can embrace and respond to those social media approaches as they develop.

7. Experiential learning and real-world immersion: Experiential learning and real-world immersion are two key facets of what students will experience in this degree. The 2009 report entitled The Impact of Experiential Learning Programs on Student Success prepared for the Ontario Ministry of Education indicates that students benefit greatly from applied learning within a situation that mimics real- world problems (Canadian Council on Learning, 2009).

Students are immersed in real-world experiential learning through internship placements in industry. They also have the opportunity to problem solve directly through the examination of case studies. As well, there is the possibility of collaboration with students engaged in ongoing productions in the Animation, Film and Television, Game Development and Music Theatre degrees.

In addition, the fourth-year Pitch Fest is an on-campus forum with a professional industry panel invited to assess the quality of student pitches. This industry mentorship opportunity will help students develop their communication and networking skills. This degree meets the needs of students searching for unique opportunities to translate business and finance interests within a creative landscape.

Students will have the opportunity to participate in a planned dynamic, physical, experiential learning environment. For example, at the Trafalgar Campus, a new visualization lab will offer services and technology supporting data visualization. The lab will provide access to high-end tools and expertise for easier exploration and discovery in research, education and creative activities.

Students additionally have access to a Scholars and Creators Hub located in the Trafalgar Campus library. Here students get assistance with research methods, writing, presentations and creativity.

8. Global reach and diversity: The global perspective as related to the creative industries and dissemination of intellectual property is emphasized throughout the program. Students examine how social and cultural perspectives are crucial to reflecting and developing ideas that are meaningful for both domestic and international audiences. Diversity is emphasized in storytelling and the ideation of intellectual properties. In each year, both in business and production courses, students examine and discuss production in creative industries through the lens of both domestic and global trends.

The global perspective is also encouraged through anticipated opportunities for a few students to pursue international internships in each creative stream, furthering growth opportunities, potential industry connections and/or future employment for students.

Honours Bachelor of Producing for the Creative Industries | 31

Opportunities to develop relationships with international educational institutions for student or faculty exchanges will be explored.

9. Strong work/study integration: The Faculty of Animation, Arts and Design has long embraced a capstone-based learning model as a means of integrating industry projects into the curriculum. In capstone-based learning, senior students join with industry representatives and faculty mentors to work on real- world problems and applied research and provide actionable solutions that address the needs of the client. Students in the Producing for Creative Industries degree will receive a sound work/study integration, coupled with an industry internship opportunity. Access and exposure to industry projects and productions will greatly help to integrate graduating students as qualified personnel within the creative industries, providing competitive advantages for Canada’s local and national economies.

10. Support for field placements: The Ad Hoc PAC members indicated their support for placing students in their organizations for internship opportunities. Letters have been received from organizations such as TIFF (Toronto International Film Festival), Nelvana, Mirvish Productions, Pipeline Studios, and the Stratford Festival, as well as the Ontario Media Development Corporation. These letters have been included in section 7.

1.3.7 Program Description The purpose of the proposed four-year degree program is for students to be able to demonstrate the ability to take a leadership role in the financial, managerial and creative aspects involved in producing for a game, theatrical, animation, film, television or digital media production. Through a creative industry production lens, students study areas such as: strategic management, applied research, financial literacy, entrepreneurship, leadership and change management, rights and regulations, raising capital for arts and creative industry projects, marketing, managing creative individuals and teams, supervising the development of new works, creative talent management and communication. All of this learning will be filtered through the framework of creativity and the arts, allowing for a rich and focused set of tools specific to the role of a producer.

A distinctive feature of this program is its applied nature and the emphasis on experiential learning. Students study foundational business and arts curriculum in the first two years of the program, giving them a solid theoretical foundation in history, current practice, and core production aspects of each creative industry through research, industry consultation, case studies, application and experiential exercises. By the third year, students begin to specialize in two of four creative fields: (1) Animation, (2) Theatre, (3) Game Development, and (4) Film/Television and Digital Media.

Honours Bachelor of Producing for the Creative Industries | 32

In addition to rigorous course work, students have consistent industry exposure, giving them the opportunity to make industry connections throughout the four years. Students gain a foundational knowledge of producing skills, as well as an understanding of strategic concepts and emerging trends to place them solidly in the creative economy. The degree will afford students the unique opportunity to partner with existing Sheridan productions in other programs. These partnerships will be threaded into the curriculum, while also becoming opportunities for internships. For example, students may have an opportunity to work with Theatre Sheridan on the production team for a show, or they could partner with a game design capstone project and develop the financial, managerial and marketing material for the game. In their capstone year, students take on an intensive and comprehensive client-based producing role in one specific field. There is also the potential for students to work across creative industry disciplines in transmedia projects.

The program prepares graduates to take on entry level producing positions that will help build leadership skills to support career development within the creative industries. It contributes to the growth and entrepreneurialism of the Canadian digital media and live entertainment industries by providing capable graduates in these disciplines. The program also prepares students for further study.

As noted in section 3.5 Pathways, graduates of Producing for the Creative Industries may competitively apply to graduate programs including Ryerson University’s Master of Fine Arts in Documentary Media, York Universities’ Schulich School of Business MBA Program with a specialization in Arts, Media and Entertainment Management, as well as the graduate degree program in Arts Administration and Arts Leadership at Queen’s University’s Dan School of Drama and Music, and internationally in Dublin, Ireland, in either the MA in Creative Production & Screen Finance, or the MA in Art Research & Collaboration at IADT, the Irish National Film School. Letters from these three graduate schools are included in section 7.

1.3.8 Program Overview The Honours Bachelor of Producing for the Creative Industries program capitalizes on the distinctive strengths of Sheridan: creativity, business, and the arts. By the end of the program, graduates will have demonstrated the ability to take a leadership role in the financial, managerial, and creative aspects involved in producing for a game, theatre, animation, film, television, or digital media production.

The program learning outcomes for the degree confirm the depth and breadth of student achievement. They are: 1. Exhibit a depth and breadth of knowledge of the chosen creative specializations in order to perform a variety of producing roles within those industries. 2. Source story ideas suitable to develop as intellectual properties for different creative industries and targeted audiences.

Honours Bachelor of Producing for the Creative Industries | 33

3. Conduct primary and secondary research to assess new opportunities, emerging trends, and the viability of the creative endeavour. 4. Assess the financial viability of a production using business and accounting fundamentals. 5. Develop a financial plan for creative projects that includes a variety of funding sources such as partnerships, direct investments, grants and sponsorships, supported by relevant documents. 6. Analyze contractual agreements, policies and other relevant documents that define legal relationships within the creative industries. 7. Design a research-based marketing plan that includes distribution strategies, promotional initiatives, audience engagement, scheduling and costs that delivers against predefined objectives. 8. Apply producing skills in all areas of a production pipeline, from ideation to development, preproduction, production, through to post production and exploitation (distribution, exhibition and marketing) in conjunction with a team, using project management principles. 9. Craft effective written, spoken and visual communications that inspire and mobilize the production team to meet both business and creative needs. 10. Apply leadership and teamwork skills in order to support the goals of the project or organization. 11. Manage the roles and responsibilities of creative and technical production teams within the parameters of the law, ethics, relevant agreements and industry practices. 12. Deliver a comprehensive and persuasive pitch targeted to the specific needs of each potential stakeholder. 13. Investigate and pursue professional opportunities and initiatives through formal engagement in networking and research.

The four-year degree program develops business, creative and production skills for applicants who aspire to work in the creative industries of film, television, digital media, animation, game development and theatre. The program map includes 32 courses within the areas of business, production, creative specialization and breadth. The program is comprised of 120 credits over 1736 scheduled hours. As with all of FAAD’s degree programs, Producing for the Creative Industries requires students to spend additional time for applied production activities, especially in the capstone course. Additional production space will be required in the fourth year of the program. The location of the production space will be considered through the Master Campus Planning process.

The full program, including business courses, will take place at the Trafalgar Campus in Oakville to allow for interaction with Sheridan’s other arts programs. It will offer an opportunity for Producing for the Creative Industries students to engage with other students in the rich artistic environment.

Honours Bachelor of Producing for the Creative Industries | 34

The Honours Producing for the Creative Industries program is expected to be populated with students coming directly from high school or following work experience. Some students may come from arts preparation programs such as Art Fundamentals, Visual and Creative Arts and/or Media Fundamentals, assuming that they meet the degree admission requirements.

1.3.9 Curriculum To develop a successful producer, who is able to maneuver across creative industry fields, a robust theoretical and practical curriculum has been designed that prepares students with the required skills for this complex position. The curriculum begins with students reviewing the historical landscape of the creative industries in order to provide a theoretical and contextual overview. Using scholarly articles and reviews, students are exposed to historical perspectives as well as ongoing exploration of growth of the creative industries.

In the first two years, students are exposed to all four specialized streams, allowing them to experience theatre, game development, film, television, digital media and animation through hands-on practice. Students learn about narrative and non-linear storytelling in order to recognize the importance of strong story concepts and their appeal to specific audiences. This interactive approach is balanced with studies in the business aspects of the creative industries. Technology, based on industry standards, is used throughout the program.

Business courses, framed through the creative industries, begin with the teaching of fundamentals, building to skills in budgeting, team and people management and identifying funding models (see program map in section 13.1 for full laddering of courses). Research and analytics are emphasized throughout the curriculum and specifically examined in a dedicated course. Students also assess legal and ethical aspects of working in creative productions, including labour relations and intellectual property law. Students further examine how the development of an idea can provide appeal to global audiences, thereby enhancing the potential, scope and revenue possibilities of a production.

Students apply their learning through role-playing, case-based scenarios, and by developing story concepts into intellectual properties applicable to various platforms and audiences. The underlying philosophy of this program is to replicate an industry environment, and to model real life situations through case studies and interactions with industry practitioners. Students learn the importance of research in developing a creative property and the associated copyright laws that protect it. Through design thinking and/or creative problem solving, students are encouraged to apply strategies in a variety of production environments. By researching and using existing scholarly data, students conduct examinations of both successful and failed production and company enterprises and their subsequent contribution to the creative economy.

Honours Bachelor of Producing for the Creative Industries | 35

By the third year, students specialize in two chosen creative industry streams. Students develop their producing and leadership skills focused within these two streams, allowing them to immerse more directly in their chosen industries, through experiential learning workshops, industry visits, guest speakers and a 420-hour industry internship.

The internship will be a rigorous experience, where students will be required to answer a set of questions posed by faculty assigned in semester 6. Through observation, consultation, research and experience, students will investigate and deliver answers to be presented to a faculty panel at the beginning of the semester 7. They will be assessed in the Senior Development Project course. This provides an even greater link between the experiential and classroom learning. It is also anticipated that a few students will have the opportunity to pursue international internships in each creative stream, furthering the potential and growth opportunities for these students.

In the final year of the program, students focus on emerging trends in their chosen industries, giving them an up-to-date lens, both domestically and globally. Students incorporate research best practices and production management approaches in developing their capstone projects, including test screenings, play testing, and/or limited workshops, as well as investigating emerging trends in industry and financing sources. They are required to support and defend their hypothesis, as to the potential marketing success of an intellectual property, through having identified appropriate audiences and funding approaches by using established business practices.

The skillsets for a producer, in this proposed program, are reflected in a curriculum that emphasizes not only practical management, financing and marketing skills, but encourages design thinkers who can apply strategic approaches to problem solving. The curriculum recognizes how students can contribute to the creative economy as entrepreneurs through their ability to conceptualize, pitch and find funding for their creative ideas.

1.3.10 Credential Recognition The FAAD art and design programs are recognized by the National Association of Schools of Art and Design (NASAD) and, according to the nomenclature for non-U.S. institutions, programs are described as substantially equivalent. Sheridan is the second institution in Canada, after the Alberta College of Art and Design, to receive this prestigious recognition. This recognition benefits Sheridan by providing access to the network of NASAD accredited institutions and events such as National Portfolio Day, an open forum for the critique of student/applicant portfolios.

Honours Bachelor of Producing for the Creative Industries | 36

1.3.11 Capacity to Deliver Sheridan is ideally positioned to deliver this degree through its ability to tap into both existing facilities and faculty expertise. The Faculty of Animation, Arts and Design has a complement of qualified full-time faculty with terminal credentials that are consistent with Ministry guidelines for delivering degree-level curriculum. The terminal credential for business courses is a doctoral degree, while the terminal credential for creative courses is a masters degree.

Sheridan’s existing physical resources can incorporate most of the needs of this program and provides the opportunity for access to productions in theatre, animation, film, television, digital media and game development at the Trafalgar Campus. Additional production space will be required in the fourth year of the program. The location of the production space will be considered through the Master Campus Planning process.

Target enrollment for the launch of this program is 49 students. Some theory classes will be delivered in one class of 49 students, while more interactive courses that also incorporate field visits and experiential learning will be capped at 25 per class. These small class sizes ensure collaborative and experiential learning and continuous feedback to students from faculty. Consultation with the Dean as well as facilities management has determined that there is capacity to deliver based on an intake of 49.

Honours Bachelor of Producing for the Creative Industries | 37

1.4 Program Abstract The Honours Bachelor of Producing for the Creative Industries degree prepares students for a career in the financial, managerial, and creative aspects involved in producing within the creative industries. Students develop a unique blend of arts, business, financial and leadership skills supporting a growing employment sector. The degree offers a specialized focus on producing within animation, theatre, game development, film, television and digital media. These specializations, combined with key fundamental business studies offered by the Pilon School of Business, capitalize on existing areas of educational excellence at Sheridan College. This provides a rich learning environment, unmatched by any other degree in the field.

Through creative approaches to storytelling across multiple platforms, students reflect diverse perspectives. As producers, they pitch projects for funding including creating concept plans and sizzle reels. Further, they research audience markets and source funding, both domestically and internationally. With a grounding in both historical and emerging industry trends, students have an ability to create and apply effective business and financial plans.

Graduates are prepared to grow into positions of leadership within the creative industries. They begin their careers in junior level positions and work their way into roles as Production Managers and Producers for existing production companies or they can start their own entrepreneurial venture. Graduates may also choose to continue their education through graduate studies at a number of Ontario and international graduate schools.

Honours Bachelor of Producing for the Creative Industries | 38

Section 2: Degree Level Standard

2.1 Depth and Breadth of Knowledge Delivering depth and breadth of knowledge is a foundational goal of the degree. Students begin with a solid introductory overview of the business and creative aspects of the Creative Industries, including history, and gradually build towards cutting edge knowledge, ideas, and the ability to develop and communicate original ideas at a professional level.

The profession, and therefore this program, is by nature interdisciplinary, dealing with the relationships between business and the creative industries. The degree is breaking ground in delivering interdisciplinary expertise in producing specifically for the creative industries and thus fulfilling a stated need in the professional landscape. The first two years’ solid overview of the landscape of the Creative Industries enables students to choose the two specialties that best suit their personal goals and strengths. The industry is becoming ever more interdisciplinary as new formats and technologies emerge; senior level courses prepare students to meet these types of changes.

Producers require the ability to think on their feet, constantly adapting to dynamic situations in a continuous process of critical decision-making. Developing this ability is a core concept of the degree. The Year 3 and 4 courses are modelled as closely as possible on a professional environment. Throughout, field experiences, guest lectures and critiques provide close links with industry professionals. In particular, Organizing and Planning skills are emphasized: • In Year 1, students examine management responsibilities in planning, organizing, and change management. They gain hands-on experience in the creative processes of each CI and discuss the logistical roles of a producer throughout the production pipeline. • In Year 2, students examine all factors involved in production development, including research, analytics, timelines, financing, budgets, legal aspects, and marketing. • In Year 3, students focus on strategizing, entrepreneurship, leadership, and self- development planning. • In their internships, students test and expand their learning within the processes and dynamics of a professional production. • In Year 4 students investigate the organizational and planning challenges of emerging trends in the Creative Industries. They practise a full array of professional level skills in developing their capstone production portfolios, including teamwork with peers and/or students in other programs.

Research skills are fundamental to the work of a Producer: from marketing and demographic research that establishes and builds audiences, to targeting potential partners and funding sources; from testing the viability of concepts and properties

Honours Bachelor of Producing for the Creative Industries | 39

through a variety of feedback-gathering methods, to planning the future viability of productions. The program addresses this essential industry requirement with progressive development of research skills throughout the four years. • In Year 1, students are introduced to primary and secondary research in the contexts of storytelling and visualization, structuring effective arguments in essays and verbal presentations, and introductory production planning. • In Year 2, they formulate research questions; evaluate research methodologies; carry out audience- development research; interpret data; apply marketing analytics to production planning, and study research ethics. • In Year 3, students put their research skills into guided practice as they develop production bibles and sizzle reels in preparation for their internship placements. • During their internships, students research industry-related questions to report on when they return to Year 4. • In Year 4, students incorporate research best practices in developing their capstone projects, including test screenings, play testing, and/or limited workshops, as well as investigating emerging trends in industry and financing sources.

Critical Thinking is a requirement of virtually all courses in the degree. A producer must constantly assess and navigate a variety of dynamic situations, synthesizing all available evidence to make critical decisions that affect people and plans. Opportunities to progressively strengthen this ability are built into virtually every course in the program. • In Year 1, students identify, differentiate, explain, and discuss issues such as producing roles, business effectiveness, ability to innovate, and how storytelling and creative techniques are used to engage audiences. • In Year 2, students discuss increasingly complex aspects of producers’ roles, including team development. They learn to analyze market data to support critical marketing decisions; ethically assess problems in entertainment law and contract negotiation; and compare cost factors within specific budget and timeline parameters. • In Year 3, students learn to assess feasibility, perform SWOT analyses, and solve problems in production scenarios. They study entrepreneurship and develop strategic career plans. They develop production plans and sizzle reels suitable for pitching to a professional industry body. • In Year 4 students approach a professional level of decision- making responsibility as they develop their capstone portfolio projects, demonstrating a variety of skills and abilities of a producer. They work more independently in planning and scheduling, responding to feedback, and self- assessment.

The transmedia nature of the degree content, in which students select two specialties from the four creative industries, provides the opportunity to devise new ways to combine creative disciplines and innovate new concepts using their business knowledge and skills. Additionally, 20% of the degree courses are breadth electives

Honours Bachelor of Producing for the Creative Industries | 40

which provide a broader education in humanities, global cultures, social sciences, natural sciences, and/or maths. This particularly supports the cultural variety, and the people-oriented, global nature of the profession.

2.2 Conceptual & Methodological Awareness/Research and Scholarship Courses in this program (including breadth courses) are designed to provide students with exposure to increasingly complex theories and approaches to solving problems typical of the producing profession. In the mandatory breadth course, Composition and Rhetoric, students learn to devise and sustain arguments and propose solutions to problems. Concepts such as Design Thinking help students bridge the business and creative aspects of the profession. They apply a creative problem-solving approach to the challenges of their work. Group- focused projects throughout the program, and individually focused fourth year projects provide an opportunity to apply learning in advanced problem solving in areas of student interest. Through primary investigation and sourcing secondary research students will investigate and deliver in their capstone an industry standard production bible focused on the development of an intellectual property. As part of that process and throughout the years leading up to the capstone, students conceptualize, and apply research methodologies to the analysis and viability of intellectual properties. Their capstone project will necessitate that students are able to argue the viability of an intellectual property having researched and examined potential problems in determining financing models, targeting appropriate audiences and identifying viable marketing strategies.

2.3 Communications Skills Communication was identified by the Ad Hoc PAC (meeting minutes Oct 2015) as the #1 Foundational or Soft Skill required for success as a Producer. Verbal, written, and visual language skills are required, as well the ability to network, negotiate, and communicate effectively, for both specialist and non-specialist audiences, across a variety of international cultures and demographics, in both business and creative environments.

The program has integrated opportunities for communication skill- building throughout the four years: • In Year 1, students practise verbal, written, and visual communication in their assignments; learn professional vocabularies; learn about people management; and engage in an introduction to Pitching, the premier communication skill of producers. These are foundational skills enabling Producers to tell stories to non- specialist audiences. • In Year 2 students develop a communications/marketing plan, and practise role-

Honours Bachelor of Producing for the Creative Industries | 41

playing in a variety of producing roles including negotiation and labour relations. • In Year 3 students learn concepts of leadership and entrepreneurship, and continue to build their negotiation and critiquing skills. They prepare pitch materials, including business documents, communications plans, and sizzle reels in support of their internship applications. • In Year 4, students practise professional-level communication skills in written, verbal, and visual forms, as applied to their capstone projects, portfolio development, feedback sessions, pitch meetings, and the Year IV Pitch Fest.

2.4 Application of Knowledge This concept is represented widely throughout the program. Producers must be able to formulate and deliver persuasive arguments backed by solid research, evidence, and thorough planning. Using quantitative and qualitative information, they must be able to forecast and project accurately, based on sound knowledge of relevant business techniques and methodologies. They must lead, guide, and follow through on plans, making adjustments and solving problems that maintain the overall goals of the production. The program aims to supply graduates with the business, creative, and people-skills aspects required by this interdisciplinary field.

Through both design thinking and creative problem solving, students are encouraged to apply strategies in a variety of production environments. They are required to support and defend their hypothesis as to the potential marketing success of an intellectual property, including having identified appropriate audiences and funding approaches by using established business practices.

Using scholarly articles and reviews, students are exposed to historical perspectives as well as ongoing exploration of growth of the creative industries. By researching and using existing scholarly data, students conduct case-based examinations of both successful and failed production and company enterprises and their subsequent contribution to the creative economy.

2.5 Professional Capacity/Autonomy In addition to the points detailed above regarding Organization and Planning, Communication, Critical Thinking, and Research skills, Teamwork was identified by the Ad Hoc PAC as integral to many production roles in the Creative Industries, particularly at the entry levels where recent graduates may get their start. Professional, ethical behaviour, including academic integrity, is expected in all courses. • Students learn the roles and responsibilities of production and creative team membership and how to effectively participate on and manage production teams within the parameters of law, contractual agreements, industry practices, ethics,

Honours Bachelor of Producing for the Creative Industries | 42

and social responsibility. • Students learn and apply principles of team leadership as they learn all stages of creative-industry pipelines, and work in teams to develop proposals, production documents, and sizzle reels. • During their internship, each student takes responsibility for a role in a professional production team or department. • In Year 4 students practise teamwork and team management with their peers and practise decision making in complex situations through working collaboratively as they direct the development of their capstone projects and perform team-member roles in their classmates’ projects.

Students learn to manage their own learning in changing circumstances through their internship, where they engage directly with industry and have the opportunity to demonstrate initiative and creativity during their engagement.

Students also have the opportunity to pursue post-secondary graduate studies, to further support their specializations in both the creative and business fields they have studied.

Throughout the program, students are expected to demonstrate professionalism and academic integrity, reflective of industry best practice in the creative industries. Further, knowledge of both legal and ethical best practices ground students with practical applications of the social responsibility, necessary when dealing with diverse intellectual properties.

2.6 Awareness of Limits of Knowledge From the start, the program aims to educate students about the other professionals and teams they will be interacting with, negotiating with, and managing in their future role as a Producer in the Creative Industries, emphasizing that these other professionals have their own levels of expertise that producers must be acquainted with and respect.

Through study of the various roles of producers and other personnel, students learn to differentiate entry- level, mid-level, and senior-level positions on a production staff and their relation to progressive levels of professional experience.

The evolving nature of the Creative Industries is emphasized throughout the program, e.g. changes in governmental regulations and international co- productions, transmedia, social and cultural developments, and new technologies. The ability to anticipate and embrace change is an integral element of the program and the profession.

Honours Bachelor of Producing for the Creative Industries | 43

Section 3: Admission, Promotion and Graduation Standard

3.1 Admission Requirements for Direct Entry Table 1. Admission Requirements Program Admission Requirements Academic Ontario Secondary School Diploma or equivalent, including these required courses: • English, Grade 12 (ENG4U) minimum 65% plus • Any Grade 12 mathematics (U) minimum 65%; • Three other Grade 12 credits (U or M); and • Minimum 65% overall average. or • Two semesters of postsecondary education including required courses with a minimum 65% overall average. Applicant Selection Applicants to the degree program will be required to meet the academic program admissions requirement. They will also be assessed on an expression of intent and resume, both of which should communicate strong leadership capabilities, a passion for the creative industries, and serious interest in developing the business acumen necessary to oversee a production.

3.2 Admission Policies and Procedures for Mature Students The proposed degree welcomes mature students, recognizing that their personal and professional life experiences may well equip them for successful careers within the field of producing for the creative industries. The program also recognizes that people pursue post-secondary education at various points in their lives and for many reasons, including career re-training. To maximize their chances of success, mature students who do not possess an Ontario Secondary School Diploma (OSSD) or equivalent must show themselves competent in handling post-secondary academic work by completing two semesters of post-secondary education, including the equivalent of ENG4U, with the minimum overall GPA of 65%, and any U level grade 12 Math course – MHF4U, MCV4U, or MDM4U. Students may also gain entry into the proposed program by meeting criteria established through articulation agreements with other institutions.

Honours Bachelor of Producing for the Creative Industries | 44

3.3 Promotion and Graduation Requirements Sheridan’s policy and procedures for Promotion and Graduation are designed to: • be consistent with the learning outcomes for the program, and • ensure a minimum level of demonstrated achievement as evidenced by the Grade Point Average (GPA)

The process for calculating the Grade Point Average (GPA) is defined within the Sheridan Academic Standing Policy and Procedure. Students are required to achieve a minimum GPA in professional (core) courses of 2.5 for both promotion and graduation. They are required to achieve a minimum GPA in courses outside the professional field of study (non-core courses) of 2.0 for both promotion and graduation. The overall minimum GPA for graduation from the program is 2.4.

Students who do not achieve the minimum GPA requirements for their program of study but are above the academic suspension threshold will be placed on academic probation.

Students who are continuing in their program while on Academic Probation must meet specific GPA requirements. Those students who do not meet the GPA requirements of Academic Probation at the end of the term will be placed on academic suspension for two consecutive terms.

Students who have met the specific Program Term GPA requirement(s) but not the minimum Program Cumulative GPA requirement(s) for graduation will be issued a graduation warning. Once the minimum Program Cumulative GPA requirement(s) have been met the student will return to Good Standing.

Academic Suspensions will not be issued to students in their first semester following admission.

Students in a Degree Program and whose Program Term GPA and Program Cumulative GPA falls below 2.0, will receive an Academic Suspension (SP) from the program for two consecutive terms.

3.4 Advanced Standing Policies and Requirements Sheridan is committed to creating accessible pathways for current and future students. The Advanced Standing Policy is intended to support student mobility within the postsecondary educational system. Students may apply to receive advanced standing for specific Sheridan course(s) based on the successful completion of similar courses at other recognized postsecondary institutions subject to meeting applicable Sheridan policies.

Honours Bachelor of Producing for the Creative Industries | 45

Candidates must have achieved a minimum of a C grade in the course that is being considered for advanced standing, or the minimum pass for the course for promotion within the program, whichever is higher.

Courses considered for advanced standing must have been completed within five years prior to the request except with the permission of the Dean or designate of the respective School.

3.5 Degree Completion Pathways Pathways In The program specialization in the creative industries means that all courses will be uniquely positioned to include both business and arts perspectives. For the purpose of advanced standing, pure business courses or pure arts courses will likely not sufficiently match with the specialized outcomes mapped across this degree.

The Feasibility Study, located in Section 13.2 outlines the pathway framework for Producing for the Creative Industries. As noted, the proposed program is a pathway for graduates of a variety of arts, fine arts, and production diploma and/or certificate programs. Based on the four streams proposed in the program (theatre, animation, game development, film/TV/digital media), relevant programs might include animation, broadcasting, performance writing, media design, digital animation/film production, event and media production, film production, graphic design, theatre arts, and visual arts. These students would begin at the entry level for this degree and must meet the admission requirements.

Graduates from Sheridan certificate programs such as Media Fundamentals and Art Fundamentals as well as Business Diplomas or General Arts and Sciences-University Profiles would be candidates for Producing for the Creative Industries as these programs give students relevant foundational knowledge. These students would also begin at the entry level and must meet the admission requirements.

Degree Completion Students entering this degree begin at Year 1. There is no pathway for students to obtain advanced standing entering from another credential.

Students who have earned academic credit for courses with a close affinity to this degree may apply for credit transfer on an individual basis. The Sheridan breadth policy will apply to students seeking recognition of general education credits.

Honours Bachelor of Producing for the Creative Industries | 46

Section 4: Program Content Standard

4.1 Professional Advisory Council Table 2. PAC Members Contact Title Company Location Biographies Name • Producer at the Stratford Festival, 2012 - present • Formerly General Manager, 2004-2012, 101 Productions (Broadway David Auster Producer Stratford Festival Stratford Productions; Touring Productions, including Spamalot, Frost/Nixon, Rent, The Addams Family, and others) • Director, Tax Credits & Financing Programs at Ontario Media Development Corp • Administration of Ontario’s media tax credits with estimated value of $250M for Film & TV production, Book Publishing, Interactive Digital Media, Director, Tax Ontario Media and Music industries Jennifer Blitz Credits and Development Toronto • Working with tax credit Financing Corporation legislation and policy development • Marketing Ontario as business and investment destination • Formerly Policy Advisor to the Minister of Culture, Government of Ontario; and Family Lawyer at McCarthy Tetrault • Director, Entertainment, Media & Digital Media at Royal Bank of Canada • Directing the RBC’s largest Media client Director, investments in Canada Gregoire Entertainment, RBC Commercial Toronto and internationally, Bonhomme Media & Digital Markets including top studios in Media L.A. and encompassing Film, TV, Music, Radio, Print & Publishing, Live Entertainment, Out-of- Home Advertising, Video

Honours Bachelor of Producing for the Creative Industries | 47

Contact Title Company Location Biographies Name Gaming, Digital & Social Media, and Sports • Deputy VP role for the Media team in Toronto • TV Series Producer (Nina’s World, Sunny Day) • Supervising Producer at Pipeline Studios • Formerly Director of Studio Operations at Corus Entertainment, overseeing at least 6-8 animated productions, including team building and managing Producers, CG Co-Owner and Pipeline Animation Supervisors, Technical Darin Bristow Executive Hamilton Studio Producers, Art Directors, Producer and Studio Manager; also managing the capital budget for Nelvana Studios. • Previously CG Supervisor at Corus Entertainment, overseeing all 2D and 3D digital production pipelines as well as technical production resources, research, and development • Currently Chief Human Resources Officer at Canadian Film Centre, overseeing HR, IT, and Operations • Formerly VP of Human Resources at Cookie Jar Entertainment Inc, and Chief Human Deborah Canadian Film formerly Director of Resource Toronto Fallows Centre Recruiting for both Officer Nelvana and Corus Entertainment • Recognized leadership in working with and managing top talent • Recognized expertise in labour laws and best practices Director, • Director, Commercial Banking, Media & Commercial Alex Farrell RBC Toronto Entertainment at RBC Banking, Media • Develops new business & Entertainment opportunities

Honours Bachelor of Producing for the Creative Industries | 48

Contact Title Company Location Biographies Name • Builds & maintains relationships with clients in the Media & Entertainment industry Corporate lending (working capital, management buy-outs, acquisitions and real estate) • Project lending (Canadian Film & TV, Video Gaming projects) • Treasury services (cash management, fixed income, short term investments, FX) • Group financial services (group banking, employee loyalty programs) Media Arts • Media Arts Officer, Ontario Mark Haslam Ontario Arts Council Toronto Officer Arts Council • Vice-President of Production at Corus Entertainment’s Nelvana Studio – overseeing all animation and production operations for Corus’ 24 specialty television networks. • Emmy Award nominee Helen VP Production, Corus Entertainment Toronto (team member), 2013, for Lebeau Nelvana Outstanding Pre-School Animation Program (Bubble Guppies) • Formerly senior member of TSN’s (The Sports Network) core operational team, managing post production audio and video facilities • President, HR and Recruitment Consulting, LeFort Talent Group – consulting work for Entertainment and Media companies; HR Management and Lance LeFort President LeFort Talent Group Toronto Recruiting for the Mobile/Social Games, Animation, and VFX industries • Formerly Director of HR at Toonbox Entertainment; Director of HR and

Honours Bachelor of Producing for the Creative Industries | 49

Contact Title Company Location Biographies Name Recruiting at Arc Productions • Theresa oversees the strategic and artistic vision of the Toronto International Film Festival’s education, heritage and community outreach programmes and initiatives. • Her three-fold portfolio includes: Learning offerings for all ages (primary through post- secondary school programmes and partnerships, kids+ family programming, youth committee and festival, Theresa Director, Adult Toronto International public talks, exhibitions); Toronto Scandiffio Learning Film Festival, TIFF the Film Reference Library and Special Collections; and the community outreach initiatives across the GTA. • Prior to joining TIFF in 2010, Theresa worked on various archival, curatorial and community outreach projects and educational initiatives at museums, festivals and universities in Toronto, Chicago and Orlando. • Theresa received her PhD in Cinema and Media Studies from the University of Chicago. • Film Commissioner & Director of Entertainment Industries at City of Toronto, overseeing Toronto’s billion-dollar film industry • Promoting and marketing Film Zaib Shaikh City of Toronto Toronto Toronto as a leading Commissioner Film/Entertainment centre; economic reporting; managing financial incentive programs; working with productions • Formerly an actor, writer, and director; founder of

Honours Bachelor of Producing for the Creative Industries | 50

Contact Title Company Location Biographies Name the Whistler Theatre Project • Sheridan alumnus (Bachelor of Arts, Theatre and Drama Studies, joint program with University of Toronto Mississauga) • CEO, TAS Toronto • Past President Artscape, Toronto Past Chair, Toronto Celia Smith Past President Artscape Toronto • Alliance for the Performing Arts • Past Chair, Cultural careers Council of Ontario • Consultant at JV Consultants – international business development, SME globalization, and education • Formerly President and CEO of Toon Boom Animation, growing the company into a global leader in digital content and animation production technology, • Developed new markets in China, India, Africa, South America, the Caribbean, and the Middle East Former CEO Joan Independent and President of Montreal • Primetime Emmy Vogelesang Consultant Toonboom Engineering Awards, Toon Boom, 2012 and 2005 • Ub Iwerks Award, prestigious award from the International Animated Film Society ASIFA- Hollywood • Numerous awards and recognitions from international organizations, recognizing her achievements and contributions to international education, partnerships, and support of the international animation community • President and CEO, President and Radke Film Group Edie Weiss Radke Film Group Toronto CEO • Overall direction of group of companies

Honours Bachelor of Producing for the Creative Industries | 51

Contact Title Company Location Biographies Name encompassing Radke Films, Steam Films, OPC.TV, Soft Citizen, Filmgroup.TV, Vapor Music, Thread Branded, and Common Good • Growth of Radke Film Group into one of the most successful commercial production companies in North America (recognized as Top 10 in 2008), garnering all major international advertising awards • Growth into Feature Films & TV development and production

4.1.1 Professional Advisory Council Minutes Ad Hoc PAC Consultations Ad hoc PAC meetings were held on January 11, 2018, January 19, 2017, December 8, 2015, October 1, 2015

January 19, 2017 Key points: At this PAC meeting a full update of the program map and courses was provided to the members. There was strong support for the program as it had been developed to date. Members noted and discussed the detail in the program map by the development team to the laddering of courses and the subsequent skill development of the students as producers. Appreciation was mentioned for the storytelling stream and the blending of the creative aspects of a producer with the business aspects. Suggestions were made to explore different types of storytelling approaches; for example, Indigenous circular storytelling. A suggestion was also made to broaden the law course to include ethics. The title of the course and learning outcomes were modified as a result. Motion of Support: For continued development. APPROVED

January 11, 2018 Key points: The full program map including course critical performance statements was reviewed year by year. Consistently there was strong support given at each stage. Curriculum was reviewed and members reacted positively to the program design. Members noted the clear laddering of critical producing skills and concepts and felt graduates would be well educated and trained to successfully enter the creative industries with creative, business and management skills. They were happy to see the emphasis on understanding story –ideation, pitching and development - as it is a foundation of intellectual property development. There was robust discussion regarding

Honours Bachelor of Producing for the Creative Industries | 52

the importance for students to explore how Canada fits into the global creative industry arena. Ad Hoc PAC members were again pleased to see that aspect emerge in the context of several courses.

A discussion regarding a proposed speaker series in the final year of the program resulted in the development team reaching out to solicit letters of support from industry leaders and experts to participate in the speaker series. These letters have been included in section 7.

Motion of Support: The Ad Hoc Program Advisory Council for the Honours Bachelor of Producing for the Creative Industries Degree moves that Sheridan proceed to seek approval from the Sheridan Senate and Board of Governors to apply for Ministerial Consent to offer the degree.

4.2 Professional Accreditation There is no requirement for the program to be certified, registered, licensed or granted some form of official recognition by a regulatory authority in order for graduates to work in the occupation in Ontario or use an occupational title. It is important to note however, that two competency frameworks were identified during the feasibility stage of program development.

The Association of Arts Administration Educators (AAAE) responsible for the Standards for Arts Administration Undergraduate Program Curricula.

The Association of Arts Administration Educators (AAAE) is a not-for-profit organization incorporated in the United States. Its mission is to represent college and university graduate and undergraduate programs in arts administration, encompassing education in the management of visual, performing, literary, media, cultural and arts service organizations (Association of Arts Administration Educators, 2012, p. 1).

The Cultural Human Resources Council (CHRC) developed the Cultural Managers - Chart of Competencies. “The Cultural Human Resources Council (CHRC) brings together cultural workers and employers to address training, career development and other human resource issues” (Cultural Human Resources Council, 2016, p. 1).

The Program Learning Outcomes were developed at the intersection of these two frameworks, informed and corroborated by the knowledge and skills requirements identified by the Ad Hoc PAC (Sheridan College, 2017).

Additionally, we are seeking to include this program into our Substantial Equivalency (membership) in NASAD—National Association of Schools of Art and Design.

Honours Bachelor of Producing for the Creative Industries | 53

4.3 Learning Outcomes The following summary table identifies the courses that map to each competency in the Board’s degree level standard.

Table 3. Learning Outcomes Mapped to Degree Level Standard Competencies

Courses

utonomy Depth and Breadth of Knowledge Conceptual Methodological Research & Scholarship Communication Skills Application of Knowledge Professional Capacity and A Awareness of Limits of Knowledge Year 1, Semester 1 Fundamentals of Business X X Design Thinking for the Creative Industries X X X X Exploration in the Creative Industries 1: History X X X Storytelling 1: Structure X X X X Professional Primer 1: Animation and Theatre X X X X Mandatory Breadth: Composition & Rhetoric X X X Year 1, Semester 2 Production Budgeting X X Team & People Management X X X Exploration in the Creative Industries 2: Roles X X X Storytelling 2: Story Development X X X X Professional Primer 2: Game Dev, Film/TV/Digital Media X X X X Year 2, Semester 3 Marketing & Audience Development X X X Financing Sources for the Creative Industries X X X X Professional Practice in Film/TV/Digital Media X X X X Professional Practice in Game Development X X X X Year 2, Semester 4 Research & Analytics X X X X X Entertainment Law & Ethics X X X Professional Practice in Animation X X X X Professional Practice in Theatre X X X X

Honours Bachelor of Producing for the Creative Industries | 54

Courses

utonomy Communication Skills Application of Knowledge Professional Capacity and A Awareness of Limits of Knowledge Depth and Breadth of Knowledge Conceptual Methodological Research & Scholarship Year 3, Semester 5 Leadership in the Creative Industries X X X X Financial Planning for the Creative Industries X X X X Production Planning in Film/TV/Digital Media 1 X X X X X Production Planning in Animation 1 X X X X X Production Planning in Theatre 1 X X X X X Production Planning in Game Development 1 X X X X X Year 3, Semester 6 Entrepreneurship in the Creative Industries X X X Creative Industries Strategic Concepts X X X X Production Planning in Film/TV/Digital Media 2 X X X X X Production Planning in Animation 2 X X X X X Production Planning in Theatre 2 X X X X X Production Planning in Game Development 2 X X X X X Internship / Work Placement X X X Year 4, Semester 7 Emerging Trends in the Creative Industries 1 X X X X X Senior Development Project X X X X X Year 5, Semester 8 Emerging Trends in the Creative Industries 2 X X X X X Production Capstone X X X X X

Honours Bachelor of Producing for the Creative Industries | 55

Table 4. Program Learning Outcomes Matrix Term 1 Term 2 Storytelling 1: 1: Storytelling Business of Fundamentals Industries for the Creative Thinking Design History 1: Industries Creative Structure Theatre & Animation 1: Primer Professional Management Development Story 2: Storytelling Media Digital and TV Film, Development, Game 2: Primer Professional Exploration in the the in Exploration Team & Team Budgeting Production Roles Industries 2: Creative the in Exploration Critical Performance Statement: By the end of the program, graduates will

have demonstrated the ability to take a leadership role in the financial,

People People managerial, and creative aspects involved in producing for a game,

theatrical, animation, film, television, or digital media production.

Exhibit a depth and breadth of knowledge of the chosen creative 1 specializations in order to perform a variety of producing roles within X X X X X those industries. Source story ideas suitable to develop as intellectual properties X X 2 for different creative industries and targeted audiences. Conduct primary and secondary research to assess new opportunities, 3 emerging trends, and the viability of the creative endeavour. X Assess the financial viability of a production using business and 4 X X accounting fundamentals. Develop a financial plan for creative projects that includes a variety of 5 funding sources such as partnerships, direct investments, grants and sponsorships supported by relevant documents. Analyze contractual agreements, policies and other relevant 6 documents that define legal relationships within the creative industries. Design a comprehensive research-based marketing plan that includes distribution strategies, promotional initiatives, audience 7 engagement, scheduling and costs that delivers against predefined objectives. Apply producing skills in all areas of a production pipeline, from ideation to development, preproduction, production, through to post X 8 production and exploitation (distribution, exhibition and marketing) in conjunction with a team using project management principles. Craft effective written, spoken and visual communications that inspire X X X X X X X X X X 9 and mobilize the production team to meet both business and creative needs. Apply leadership and teamwork skills in order to support the goals of 10 the project or organization. X X X Manage the roles and responsibilities of creative and technical 11 production teams within the parameters of the law, ethics, relevant X X X agreements and industry practices. Deliver a comprehensive and persuasive pitch targeted to the needs X X 12 of each potential stakeholder. Investigate and pursue professional opportunities and initiatives through X 13 formal engagement in networking and research.

Honours Bachelor of Producing for the Creative Industries | 56 Term 3 Term 4 Development Audience & Marketing Industries the Creative for Sources Financing Media Digital in Fil Practice Professional Development in Game Practice Professional Analytics & Research Ethics & Law Entertainment in Animation Practice Professional in Theatre Practice Professional

Critical Performance Statement By the end of the program, graduates will have m/Television & m/Television demonstrated the ability to take a leadership role in the financial, managerial, and creative aspects involved in producing for a game, theatrical, animation, film, television,

or digital media production.

Exhibit a depth and breadth of knowledge of the chosen creative specializations in 1 order to perform a variety of producing roles within those industries. Source story ideas suitable to develop as intellectual properties for different X X 2 creative industries and targeted audiences. Conduct primary and secondary research to assess new opportunities, emerging X X X 3 trends, and the viability of the creative endeavour. Assess the financial viability of a production using business and accounting X X X 4 fundamentals. Develop a financial plan for creative projects that includes a variety of funding X 5 sources such as partnerships, direct investments, grants and sponsorships supported by relevant documents. Analyze contractual agreements, policies and other relevant documents that define X X 6 legal relationships within the creative industries. Design a comprehensive research-based marketing plan that includes distribution X X 7 strategies, promotional initiatives, audience engagement, scheduling and costs that delivers against predefined objectives. Apply producing sills in all areas of a production pipeline, from ideation to X X X X development, preproduction, production, through to post production and exploitation 8 (distribution, exhibition and marketing) in conjunction with a team using project management principles. Craft effective written, spoken and visual communications that inspire and mobilize X X X X X X X X 9 the production team to meet both business and creative needs. Apply leadership and teamwork skills in order to support the goals of the project X X X X 10 or organization. Manage the roles and responsibilities of creative and technical production teams X 11 within the parameters of the law, ethics, relevant agreements and industry practices. Deliver a comprehensive and persuasive pitch targeted to the needs of each 12 potential stakeholder. Investigate and pursue professional opportunities and initiatives through formal X 13 engagement in networking and research.

Honours Bachelor of Producing for the Creative Industries | 57 Term 5 Term 6 Creative Industries Creative the in Leadership Industries for the Creative Planning Financial in F/TV/DM 1 Planning Production in Ani Planning Production 1 Development in Game Planning Production in Theatre 1 Planning Production Industries the Creative in Entrepreneurship Concepts Strategic Industries Creative in FTVDM 2 Planning Production in Animation 2 Planning Production in Game Dev. 2 Production in Theatre 2 Planning Production

Critical Performance Statement: By the end of the program, graduates will have demonstrated the ability to take a leadership role in the financial, 1 mation

managerial, and creative aspects involved in producing for a game,

theatrical, animation, film, television, or digital media production. Planning

Exhibit a depth and breadth of knowledge of the chosen creative 1 specializations in order to perform a variety of producing roles within X X X X X X X X X X X X those industries. Source story ideas suitable to develop as intellectual properties for 2 X X different creative industries and targeted audiences. Conduct primary and secondary research to assess new opportunities, 3 X X emerging trends, and the viability of the creative endeavour. Assess the financial viability of a production using business and 4 X accounting fundamentals. Develop a financial plan for creative projects that includes a variety of 5 funding sources such as partnerships, direct investments, grants and X X X X X X X X X sponsorships supported by relevant documents. Analyze contractual agreements, policies and other relevant 6 documents that define legal relationships within the creative X X X X X X X X industries. Design a comprehensive research-based marketing plan that includes 7 distribution strategies, promotional initiatives, audience engagement, X X X X X X X X scheduling and costs that delivers against predefined objectives. Apply producing skills in all areas of a production pipeline, from 8 ideation to development, preproduction, production, through to post X X X X X X X X X production and exploitation (distribution, exhibition and marketing) in conjunction with a team using project management principles. Craft effective written, spoken and visual communications that inspire 9 and mobilize the production team to meet both business and creative X X X X X X X X X X X X needs. Apply leadership and teamwork skills in order to support the goals 10 X X X X X X X X X of the project or organization. Manage the roles and responsibilities of creative and technical 11 production teams within the parameters of the law, ethics, relevant X X X X X X X X X X agreements and industry practices. Deliver a comprehensive and persuasive pitch targeted to the needs 12 X X X X X X X X of each potential stakeholder. Investigate and pursue professional opportunities and initiatives 13 X through formal engagement in networking and research.

Honours Bachelor of Producing for the Creative Industries | 58 Term 7 Term 8 Industries 1 Creative the in Trends Emerging Project Development Senior Industries 2 Creative the in Trends Emerging Capstone Production Critical Performance Statement: By the end of the program, graduates will have demonstrated the ability

to take a leadership role in the financial, managerial, and creative aspects involved in producing for a game,

theatrical, animation, film, television, or digital media production.

1 Exhibit a depth and breadth of knowledge of the chosen creative specializations in order to perform a variety of producing roles within those industries. X X X X 2 Source story ideas suitable to develop as intellectual properties for different creative industries and targeted audiences. X X X X 3 Conduct primary and secondary research to assess new opportunities, emerging trends, and X X the viability of the creative endeavour. 4 Assess the financial viability of a production using business and accounting fundamentals. X X 5 Develop a financial plan for creative projects that includes a variety of funding sources such as partnerships, direct investments, grants and sponsorships supported by relevant documents. X X 6 Analyze contractual agreements, policies and other relevant documents that define legal relationships within the creative industries. X X 7 Design a comprehensive research-based marketing plan that includes distribution strategies, promotional initiatives, audience engagement, scheduling and costs that delivers against predefined X X objectives. 8 Apply producing skills in all areas of a production pipeline, from ideation to development, preproduction, production, through to post production and exploitation (distribution, exhibition and X X marketing) in conjunction with a team using project management principles.

9 Craft effective written, spoken and visual communications that inspire and mobilize the production X X X X team to meet both business and creative needs. 10 Apply leadership and teamwork skills in order to support the goals of the project or organization. X X 11 Manage the roles and responsibilities of creative and technical production teams within the parameters of the law, ethics, relevant agreements and industry practices. X X

12 Deliver a comprehensive and persuasive pitch targeted to the needs of each potential stakeholder. X X X X 13 Investigate and pursue professional opportunities and initiatives through formal engagement in networking and research. X X X X

Honours Bachelor of Producing for the Creative Industries | 59 4.4 Course Descriptions Table 5. Core Courses Course Title (Core) Calendar Course Description Year 1, Semester 1 Fundamentals of Business Students examine the fundamentals of business from Canadian and international perspectives. They explore aspects of the growth and significance of the Creative Industries within the larger business landscape. Students investigate how businesses organize and operate with a focus on current trends in information and communication technology, the role of ethics and social responsibility, and the importance of entrepreneurship and innovation. Design Thinking for the Creative Students explore the creative process of innovation and the mindset of Industries design thinking (human-centered, collaborative, optimistic and experimental) as applied to the creative industries. Students examine the ways in which firms succeed or fail, in terms of competitive differentiation and innovation in products, processes and business models. Case studies focus on unique firms and individuals with established models of innovation. Students practice various creative problem solving methods in case studies that explore aspects of competitive advantage in the creative industries. Exploration in the Creative Industries Students are introduced to the creative industries of film, television, digital 1: History media, animation, game development and theatre through an historical, cultural and contemporary lens. Students discuss the broad world of producing in its creative, logistical and business aspects from both national and global perspectives. The impact of technological shifts on these creative industries is discussed, providing students with a critical overview of the creative industries. Storytelling 1: Structure Students explore the fundamental storytelling skills needed for story production through an examination of classic and emerging story structures. Topics include story themes and styles in multiple genres and mediums. Through ideation exercises, storyline development, case studies, research, and presentations, students examine the importance of storytelling as a fundamental component in the success of any creative industry production. Professional Primer 1: Animation and Students explore the process of producing simple animation, using 2D, Theatre computer assets, or stop-frame techniques. Topics include how drawing is used as a communication tool, and how software and other equipment are used to support animated projects Students explore theatrical principles and practices by observing and reporting on dramatic and technical theatre rehearsals. They also participate in theatre exercises with their peers, and in class discussions with guest speakers and panelists. Composition and Rhetoric Composition & Rhetoric is an advanced level communications course which focuses on the art of argument and persuasion in reading, writing and speaking: the organization of arguments and the presentation of evidence, the use of primary and secondary sources in research and the use of language to strengthen one's ideas. Year 1, Semester 2 Production Budgeting Students examine the concepts of personal and production accounting and budgeting. Topics include basic accounting principles, key financial statements, the importance of cash flows, production budget templates, and spreadsheets. Students use standard computer software to construct production and personal budgets. Team and People Management Students examine individual, team, and organizational-level factors that influence the development of a high-performance workforce for the creative industries. Topics include perception and perspectives, values and beliefs, attitudes, motivation, personality, diversity management, cross-cultural communication, power and politics, building interdisciplinary teams, and leadership. Students examine the effects of organizational structure, culture, and change on current challenges in a global workforce.

Honours Bachelor of Producing for the Creative Industries | 60

Course Title (Core) Calendar Course Description Exploration in the Creative Industries Students examine the multiple roles and responsibilities in a production 2: Roles within the creative industries of Film, Television, Digital Media, Animation, Game Development and Theatre. Industry speakers and site visits complement students’ exploration of the workings and production frameworks of each creative industry. This course prepares students for the professional practice courses. Storytelling 2: Story Development Students develop a story concept in depth through research and identification of the methodologies of intellectual property (IP) development, sourcing, and adaptation. Students prepare a story idea to the level of an introductory pitch for a targeted creative industry. Professional Primer 2: Game Students are introduced to the creative process in Game Development and Development and TV, Film, and the Film, TV, and Digital media environments through experimentation in Digital Media hands-on projects. Students practise professional industry vocabulary used in these two creative industries. Students explore visual techniques that engage an audience through role-play and activities appropriate to each industry. Year 2, Semester 3 Marketing and Audience Development Students examine the managerial challenges involved in formulating and implementing marketing plans. Students develop a basic marketing plan for a production, by examining all elements of the marketing mix and analyzing secondary research. Students analyse the relationships between marketing and the other functions in a production. Studies and projects provide ample opportunity for students to practice working effectively in teams. Financing Sources for the Creative Students examine the variety of potentially available funding sources: Industries government grants, debt, equity, sponsorships, tax credits, international co- production funds, and how they fit into financing plans for the creative industries. Students identify and evaluate a variety of financing sources, and explore strategies for approaching them. Professional Practice in Film, Through analysis of case studies and current industry practices, students Television and Digital Media delve into the roles and responsibilities of producers in film, television and digital media. Students develop creative and financial management approaches to building a production team. Using problem solving, research and creative thinking, students examine scheduling, staffing, budgeting, resourcing and planning various size productions through a producer’s lens. Professional Practice in Game Students will discuss production through a Producer’s lens in Game Development Development, considering issues such as appropriate personnel and analytics, the design processes needed to build games, as well as the specific roles and processes of team building. Year 2, Semester 4 Research and Analytics Students identify research problems, determine appropriate research processes, analyze research data and interpret findings. Students explore the value of research and information in support of critical decision-making about the future of the creative industries. Entertainment Law and Ethics Students examine the basic principles of entertainment law and their applications in a Canadian and international production environment. Students examine the theoretical basis for ethical conduct as it relates to business and further explore the ethical challenges they will face in the workplace. Topics include intellectual property law, contracts, labour agreements, financing and other standard documentation. Professional Practice in Animation Working through a Producer’s lens, students examine issues of scheduling, staffing, budgeting, and resourcing as appropriate to the various styles, techniques, genres, and scope of animated content creation. Through design-thinking exercises and case studies on current industry practices, students explore how a producer applies analytics, ideation, and research approaches to the process of planning animation production. Professional Practice in Theatre Students explore in greater detail the roles and responsibilities of a theatrical producer by examining theatre production in Canada and abroad,

Honours Bachelor of Producing for the Creative Industries | 61

Course Title (Core) Calendar Course Description commercial and not-for-profit theatre, and the world of rights acquisition and ownership. Students develop budgets for different stages of a theatrical production and examine producers’ rights and production rights and possible revenue streams after a production has opened. Students also apply analytics and research to study audience behaviour and purchase patterns. Year 3, Semester 5 Leadership in the Creative Industries Students explore elements of effective leadership, evolution of leadership theories, and methods for developing leaders. They develop an appreciation of their own leadership style and potential. Classes are experiential in nature, involving role-plays, guest speakers, cases, problem based learning, reflective exercises and group work. Students participate in learning circles to develop their personal leadership agenda, and to apply the lessons learned in class to specific work and personal situations. Financial Planning for the Creative Students build on their learning from previous courses related to budgeting Industries and financing. Students plan, pitch, and manage the financial aspects of a creative project. Students investigate a variety of potentially available funds: government grants, debt, equity, sponsorships, tax credits, international co- productions into a financial plan. By completing a variety of financing applications and designing and delivering a financing plan including a ‘pitch’, students receive hands on experience in the funding of the creative industries. Select two of four: Production Planning in Film, Through a producer’s lens, students develop an idea through a film, tv or Television & Digital Media 1 digital media production pipeline to create a concept package or presentation. Using applied exercises with fixed-budget scenarios, students examine potential limitations and constraints of a production. Through creative thinking, problem solving and design thinking, students practically apply producing concepts to deliver their idea in a pitching forum. Production Planning in Animation 1 Students prepare financing forecasts, budgets, and marketing/distribution plans for the development phase of a production, that emphasize the flexibility required to meet specific limitations Students produce a concept reel or prototype to support their creative and financial design thinking. Production Planning in Theatre 1 Students build and discuss budgets for commercial and not-for-profit theatre, and use budgeting to analyze production planning, profit potential and producing partnerships. Students review investment and donation opportunities, build business plans and create pitch materials. Production Planning in Game Students examine several practical processes employed by professional Development 1 producers and team leaders working in the video game industry. Students investigate some specific practices in detail such as Concept Development, Game Prototyping, and Project Pitching. Year 3, Semester 6 Entrepreneurship in the Creative Students examine the principles and best practices of contemporary Industries entrepreneurship, as applied to the creative industries in Canada and abroad. Students develop an investor-ready business plan for an entrepreneurial venture, including an environmental scan, market assessment, marketing strategy, financial statements, financing, human resources and operations plan. Students reflect on personality and demographic characteristics of successful entrepreneurs. Students develop ideas through mind mapping and conduct a feasibility analysis for their new business idea. Creative Industries Strategic Students explore strategic planning frameworks and tools for aligning an Concepts organization’s strategic plans with its objectives and values. Students examine mission and vision statements, core values, external and internal environmental scans, medium to long term strategic objectives, strategic priorities, action plans, scorecards, performance drivers, strategy maps, financial planning, strategic communications and monitoring of the plan's implementation.

Honours Bachelor of Producing for the Creative Industries | 62

Course Title (Core) Calendar Course Description Select the same two of four: Production Planning in Film, Students advance a project into the pre-production phase with the Television & Digital Media 2 development of a “bible”, financial plan, and a production schedule. Students further prepare their project for the production phase of a creative industry project in the TV, Film or Digital Media industries by creating a sizzle reel. This course supports the development of pre-internship portfolios. Production Planning in Animation 2 Using the plans and creative elements from the previous course (the development phase), and based on audience analysis and analytics, financial and stylistic criteria developed throughout the semester, students produce a “bible” and a financial plan, budget, schedule and distribution strategy to take a project from the pre-production phase into the production phase of animated content. Students develop internship-ready portfolios of production work to an industry standard. Production Planning in Theatre 2 Students use case studies to engage in production planning, budgeting and scheduling from pre-production through to opening night. Students have the option to develop a pitch for producing a new Canadian musical theatre project; alternatively, coursework may be integrated with Theatre Sheridan activities. Production Planning in Game Students design specific production processes appropriate for a given game Development 2 production. Through interactive lectures and lab sessions, students develop a detailed professional game production plan and related documents considering a realistic industry context. Students develop a personal portfolio suitable for an internship-level position in the Game Development industry. Year 4, Semester 7 Emerging Trends in the Creative Students explore issues influencing contemporary creative industries from Industries 1 inside and out. Students build upon their prior learning in order to analyse current creative and business issues and trends. Students take a critical approach and apply analytical methodology in order to evaluate industry developments. Senior Development Project Students integrate the concepts, principles and theories investigated throughout the program to design and develop professional quality development plans (creative and financial) for their capstone project. In teams, students focus on research, application of concepts, team participation, design, and development under the guidance of mentors. Students supplement their learning through design reviews, presentations and masterclass lectures including guest speakers from the industry. Year 4, Semester 8 Emerging Trends in the Creative Students continue to explore issues influencing contemporary Industries 2 creative industries. Students specifically examine trends in financing and marketing, technology, and distribution. Students critically examine and evaluate information and opinions about cutting-edge technologies, business processes, and ideas, as culled from industry press, public and private information sources, manufacturers, and industry experts. Production Capstone Students create a professional production plan that includes market- quality content using industry best practices. Students work in a production environment focused on independent learning, under the guidance of an advisor and peer team. A master lecture series that features industry speakers supplements the learning.” In addition, students finalize their personal professional portfolio (inclusive of résumé, producer statement, selected works and demo reel, or as appropriate for the CI stream) for industry exhibition and presentation.

Honours Bachelor of Producing for the Creative Industries | 63

Non-Core Courses The breadth course elective descriptions on file with PEQAB are current.

Honours Bachelor of Producing for the Creative Industries | 64

4.5 Course Schedules Table 6. Undergraduate Course Schedule 1

Not available for web submission

Table 7. Undergraduate Course Schedule 2 Course Title Core Hrs. Non - core Pre - & Co -Reqs. Highest Qualification Hrs. earned & disc. of study

Year 1, Semester 1 Fundamentals of Business 42 MBA

Design Thinking for 42 PhD the Creative Industries Exploration in the 42 PhD Creative Industries 1: MFA History MA Storytelling 1: Structure 42 PhD MA Professional Primer 42 MA 1: Animation and Theatre Composition and Rhetoric 42 PhD Year 1, Semester 2 Production Budgeting 42 LLB, MFA

Team and People 42 PhD Management Exploration in the 42 Exploration in the MFA Creative Industries 2: Creative Industries MA Roles 1 MA Storytelling 2: Story 42 Storytelling 1: Structure MA Development MA

Professional Primer 2: 42 MFA Game Development and MA TV, Film, and Digital Media Breadth Elective 42 PhD Year 2, Semester 3 Marketing and Audience 42 MBA Development

Financing Sources for 42 MBA the Creative Industries Professional Practice in 56 Exploration in the LLB, MFA Film, Television and Creative Industries MA Digital Media 2 Professional Primer 2: Game Development and TV, Film, and Digital Media

Honours Bachelor of Producing for the Creative Industries | 65

Course Title Core Hrs. Non - core Pre - & Co -Reqs. Highest Qualification Hrs. earned & disc. of study

Professional Practice in 56 Exploration in the PhD Game Development Creative Industries 2 Professional Primer 2: Game Development and TV, Film, and Digital Media

Breadth Elective 42 PhD

Year 2, Semester 4 Research and Analytics 42 PhD

Entertainment Law 42 LLM and Ethics Professional Practice 56 Exploration in the MA in Animation Creative Industries 2 Professional Primer 1: Animation and Theatre

Professional Practice in 56 Exploration in the MFA Theatre Creative Industries 2 Professional Primer 1: Animation and Theatre Breadth Elective 42 PhD Year 3, Semester 5 Leadership in the Creative 42 PhD Industries

Financial Planning for 42 MBA the Creative Industries

Select two of four: Production Planning in 42 Professional Practice MA Film, Television & Digital in Film, Television MFA Media 1 and Digital Media Production Planning 42 Professional Practice MA in Animation 1 in Animation

Production Planning 42 Professional Practice MFA in Theatre 1 in Theatre Production Planning 42 Professional Practice PhD in Game in Game MA Development 1 Development Breadth Elective 42 PhD

Year 3, Semester 6 Entrepreneurship in the 42 PhD Creative Industries

Honours Bachelor of Producing for the Creative Industries | 66

Course Title Core Hrs. Non - core Pre - & Co -Reqs. Highest Qualification Hrs. earned & disc. of study

Creative Industries 42 MA Strategic Concepts Select the same two of four: Production Planning in 42 Production Planning MFA Film, Television & Digital in Film, Television LLB, MFA Media 2 and Digital Media 1 Production Planning in 42 Production Planning MA Animation 2 in Animation 1 Production Planning in 42 Production Planning MFA Theatre 2 in Theatre 1 Production Planning in 42 Production Planning PhD Game Development 2 in Game MA Breadth Elective 42 Development 1 PhD Year 4, Semester 7 Emerging Trends in the 42 MA Creative Industries 1 MBA

Senior Development 84 Two of Production MA Project Planning: MFA a. in Film, Television & PhD Digital Media 2 MA b. in Animation 2 PhD c. in Theatre 2 d. in Game Development 2 Breadth Elective 42 PhD Year 4, Semester 8 Emerging Trends in the 42 Emerging Trends in MA Creative Industries 2 the Creative Production Capstone 84 SeniorIndustries 1 MA Development MFA Project PhD MA PhD MA Breadth Elective 42 PhD Subtotal Course Hours 1400 336 Total Program Hours = 1736 (336 breadth) = 19.4% breadth Total Credits = 120 (24 breadth) = 20% breadth Total Courses = 38 (8 breadth) = 21% breadth 1 breadth per academic term (8)

Honours Bachelor of Producing for the Creative Industries | 67

4.6 Work-integrated Learning Experience Sheridan College has a successful program of providing students with career education curriculum and of facilitating work experiences for students through our well-established Co-operative Education & Internship Office (CEIO). The Co-op Office employs over 24 staff and partners with over 12,000 employers to provide curriculum-related work experience for students. The Co-op Office’s dedicated personnel work diligently to educate certificate, diploma and degree students on job search and career management strategies that will serve them in securing internship positions and maximizing learning during the work term.

The Co-op advisors are very experienced and are thoroughly familiar with the scope and requirements of these opportunities. In addition, Sheridan is increasingly dedicated to facilitating partnerships with industry practitioners who may want to avail themselves of our state-of-the-art facilities, with access to students during their Co-op terms to work on projects at Sheridan. Such partnerships can be extremely attractive to industry, and have great benefit to our students as additional work experiences.

The Co-operative Education Model The Co-op model is based on the principle that an academic program combined with work experience is relevant to and desirable for effective employment preparation. Work term employment, which varies from sector to sector, allows students to acquire experience in their areas of career interest, while academic terms are devoted primarily to fundamental and theoretical studies. These practical experiences and academic studies complement one another.

The motivation, responsibility, and opportunity for insight gained through Co-operative Education can be of significant value to the student's future. The concept enables those with a career orientation to become full-time students of their subject, both during the academic terms and during the related work terms, within a structure of organized purpose and serious study.

The Co-op Office at Sheridan uses a competitive employment process model. While the CEIO makes every effort to assist students in gaining employment, there is no guarantee that every student will become employed through the Co-op employment process. The Co-op Office is responsible for the review and approval of Co- op/Internship job postings, but does not assume responsibility for endorsing the companies.

4.6.1 Requirements/Options for Work Experience Four hundred twenty (420) hours of internship is a requirement in the degree. Local, national and international internship opportunities will be explored through a number of avenues, including PAC recommendations. Many Ad Hoc PAC members indicated they would place students during their internships (see section 7 – Letters of Support).

Honours Bachelor of Producing for the Creative Industries | 68

After the sixth semester, students are expected to participate in either external or internal internship placements.

4.6.2 Types of Work Experiences External placements may include working within a studio, a theatre company, or a production house. It is anticipated that students will occupy positions that will allow them to further develop their skills at project planning, management, production development, and effective team participation within the company. Internal placements may be generated through departments or units such as the Sheridan Production House or Theatre Sheridan. It is possible that internships, both external and internal, may evolve into capstone projects wherein the student would expand upon a role that they assumed during the internship experience.

Students will be seeking junior producing roles for their internships in contrast to other related degrees at Sheridan which are more technical in nature thereby minimizing competition for placements.

4.6.3 Plans to Develop Placement Opportunities Students are responsible for securing their own internship placements, with assistance from the Co-op Office at Sheridan. They are further supported by suggestions and advice from faculty and the Program Coordinator. In addition, the program will encourage students to do their own independent research to propose suitable placements, including international roles. This is referred to as a student generated position. The inclusion of possible international internships highlights the global importance of a producer’s role and the current global nature of marketing, distributing and exhibiting intellectual properties. Internships may be paid or unpaid, as necessary.

4.6.4 Support for Work Experience There are four partners in the Cooperative Education and Internship Programs at Sheridan: the Co-op Office, Students, Employers, and Academic Departments. The success of the program relies upon all parties understanding their responsibilities.

The Co-operative Education and Internship Office Currently, the Co-op Office supports 36 Co-op programs at Sheridan, with students enrolled in a wide range of programs including: arts and animation, business, health, applied computing and engineering sciences.

The Co-op Office mandate is to: • Provide the delivery and evaluation of Co-op preparatory and work term curricula (e.g., career planning skills including self-assessment, résumé and cover letter preparation, job search techniques and effective interviewing skills) • Develop job opportunities and secure potential employers

Honours Bachelor of Producing for the Creative Industries | 69

• Arrange recruiting interviews for Co-op and internship students • Provide professional career guidance to students • Maintain Co-op records • Monitor Co-op and internship work terms by visiting and/or telephoning students and employers on the job • Support students in Co-op / internship work term opportunities before, during and after their work terms to help maximize the students’ whole education and career experience

The Student Students must abide by all Co-op policies and procedures. The responsibilities of the student include: • Successful completion of Co-op preparatory course • Maintain good academic standing • Complete all Co-op work term assignments • Exhibit professional conduct during job search and work term • Relate classroom learning to the workplace – this benefits both student and employer • Exercise ethical workplace conduct and represent Sheridan with a standard of conduct and performance which will further enhance the relationship between Sheridan and the employer • Maintain employer confidentiality • Abide by the policies and procedures of employer • Accept constructive feedback, suggestions for improvement in a positive manner • Resolve problems or issues that may arise in a prompt, professional manner • Be a productive and responsible employee and take initiative as appropriate • Advise the employer and Internship advisor of any concerns or problems with work assignments or environmental issues as soon as they arise • Set realistic expectations and goals that will encourage self-improvement and benefit the employer

The Employer To increase the student’s productivity and facilitate learning, it is recommended that employers: • Advise the students with regards to all issues of confidentiality in the workplace and ensure that any non-disclosure agreements are signed prior to the commencement of work • Prepare the student’s co-workers and other staff for the arrival of the student • Provide the student with an orientation to the workplace, including an overview of the organization (e.g. mission statement, products, etc.), physical layout, relevant personnel, safety practices, and the duties or tasks expected during the work term

Honours Bachelor of Producing for the Creative Industries | 70

• Provide a supervisor for the Co-op and internship student who will oversee the student’s work and discuss expectations for the work term with the student and, on a regular basis, give the student feedback on how he/she is doing, including areas of strength and areas which require improvement

The Academic Department The Academic Department is responsible for all academic components of the Internship. A Co-op Student Advisor works closely with each Academic Program Coordinator to ensure standards are established and relevant information is shared. Because of their connections with industry, faculty members are often involved in finding potential internship positions. They may also be asked to vet potential positions for relevance and appropriateness. Faculty help prepare students for their internship experiences through career-related programming embedded in the curriculum. On their return from the internship, students reflect on what they learned in the internship experience and relate it to their curriculum through structured activities provided by faculty.

4.6.5 Work-Integrated Learning Experience Outcomes The following chart outlines the learning outcomes for the internship, how possible job responsibilities will allow students to demonstrate these learning outcomes.

Table 8. Work-Integrate Learning Experience Outcomes Work Experience How work experience puts into Criteria for Outcomes practice the program outcomes evaluating students during placement By the end of the work During the work experience, The employer experience, students students may perform some or all questionnaire will: will have demonstrated of the following types of tasks, the ability to: which support achievement of program learning outcomes: Function effectively and Meet with other members of the team Evaluate the student’s professionally as part of a to plan the production. Collaborate interpersonal and creative work team. with the team on the development of collaboration skills projects. Supports program learning outcomes: 6, 9, 10, 11, 12 Exhibit adaptive and Collaborate with the creative team to Evaluate the student’s innovative responses to a find appropriate and innovative initiative, creativity, variety of professional solutions to production challenges. judgment and problem needs and situations. Anticipate actions required to support solving abilities the production manager or their assistants to perform a task.

Honours Bachelor of Producing for the Creative Industries | 71

Work Experience How work experience puts into Criteria for Outcomes practice the program outcomes evaluating students during placement By the end of the work During the work experience, The employer experience, students students may perform some or all questionnaire will: will have demonstrated of the following types of tasks, the ability to: which support achievement of program learning outcomes: Supports program learning outcomes: 1, 2, 3, 4, 5, 6, 8, 9, 10,14

Exhibit knowledge of Participate in research to support the Evaluate the student’s processes and development of a concept or idea. ability to learn, requirements in the Contribute to the process of a synthesize new professional working production pipeline. knowledge, and work environment. Supports program learning with new technology outcomes: 1, 2, 3, 4, 5, 6, 7, 8, 11, 13 Communicate clearly, Communicate effectively with concisely, and correctly members of the creative team. Evaluate the student’s as appropriate to the Participate in meetings. Use listening ability to communicate requirements of the skills in order to correctly follow verbally and in writing position. instructions from supervisor. Supports program learning outcomes: 6, 7, 9, 10, 11, 12, 14 Manage the use of time Assist in the preparation of project Evaluate the student’s and other resources to schedules. Assist in the preparation of organization and attain work goals within studio and/or equipment. Assist in planning skills established timelines. arranging for resources required for production. Complete assigned work on schedule. Supports program learning outcomes: 4, 6, 8, 10 Exhibit improvement after Reflect on performance of duties and Evaluate how the receiving constructive make necessary adjustment to student responds to feedback and take performance. Solicit and respond to supervision and responsibility for own supervisor feedback on performance. feedback actions and decisions. Supports program learning outcomes: 8, 9, 11, 12, 14 Identify combination of Exhibit appropriate behaviours in the Evaluate the student’s personal skills, work ethic, workplace. Discuss requirements of interest in work, quality positive attitude, and job and performance with supervisor. of work, productivity, behaviours required to Identify and integrate behaviours that dependability secure, maintain, and contribute to success in the attendance, and advance on the job. profession. punctuality Supports program learning outcomes: 9, 10,12, 14

Honours Bachelor of Producing for the Creative Industries | 72

4.6.6 Student Evaluation During Placement Grading of the work term is Pass/Fail. Evaluation of the work term is based on timely submission of following documentation: • Confirmation of Employment Report • Employer Evaluation • Work Term Report

The Confirmation of Employment Report is a written contract outlining the parameters of the internship including roles and responsibilities, start and end dates, who will be supervising the student, and expected learning outcomes. It represents an agreement among the employer, the student, and Sheridan.

An online evaluation of the student’s performance is completed by the student’s supervisor at the end of the work term to review the student’s progress towards overall expectations and goals, and the student’s work performance in terms of behaviours, abilities, work habits and technical competencies. All students are assessed in areas such as interest in the work, ability to learn, quality and quantity of work, analytical and problem-solving, communications—written, verbal and interpersonal, teamwork, dependability, response to feedback, professionalism. The employer is asked to specifically identify the student’s areas of strength and areas to improve.

At the end of the internship, the student prepares a Work Term Report. This report provides information on the company, a synopsis of duties performed, and a full description of one technical and one transferable skill enhanced or developed while on the work term. This report illustrates the understanding and experience acquired during the Co-op/internship and provides an opportunity to update the student’s résumé.

Employer and student reports are reviewed by Sheridan staff and a final grade of pass or fail is assigned.

Honours Bachelor of Producing for the Creative Industries | 73

4.7 Course Outlines 4.7.1 Core Courses

Not available for web submission.

4.7.2 Non-Core Courses The breadth course outlines on file with PEQAB are current.

4.8 Degree Completion Students entering this degree begin at Year 1. There is no pathway for students to obtain advanced standing entering from another credential.

Students who have earned academic credit for courses with a close affinity to this degree may apply for credit transfer on an individual basis. The Sheridan breadth policy will apply to students seeking recognition of general education credits.

Honours Bachelor of Producing for the Creative Industries | 74

Section 5: Program Delivery Standard

Sheridan assures quality of program delivery through new program development processes, faculty development programs for new full-time and part-time faculty, ongoing professional development opportunities for faculty, regular student feedback mechanisms and quality assurance processes. Additional information related to quality assurance of delivery can also be found in the Program Evaluation Standard Section 10.

5.1 Quality Assurance of Delivery 5.1.1 New Program Development New program development is a collaborative process involving faculty members in the Faculties, curriculum developers in the Centre for Teaching and Learning, an ad hoc Professional Advisory Council, senior management and representatives from the various service areas of the college. The development process ensures fit with College strategy and Ministry standards, viability of the program in terms of student and employer support and College resources, rigour and relevance in the curriculum, and support from the various areas of the College.

Sheridan’s culture invites creativity and innovation, welcoming input from the College community for the creation of new programs. Once an idea has been formulated, the next step is to examine the industrial and educational context for the proposed program, its competition, and industry trends. Input is solicited from industry through interviews and the creation of an ad hoc Professional Advisory Council.

Once the research for the proposed program has been completed, the first phase of development focuses on creating a vision of and framework for the program. Peer review by a cross-disciplinary Senate committee provides a context to learn from each other’s experiences in degree development and delivery, and an opportunity to identify possible synergies between programs. In the subsequent development phase, detailed curriculum is worked out. A curriculum specialist from the Centre for Teaching and Learning works closely throughout with the program development team from the Faculty to ensure degree level standards are met in outcomes, course content and evaluation methods. Internal stakeholders are consulted to ensure resources and support for the ultimate implementation of the program. Requirements for vetting and/or approval by several internal bodies ensure proposals are scrutinized closely for both pedagogical strength and functional viability before the proposal is submitted to an external approval body.

Sheridan’s policies and practices relating to new program development have been reviewed and approved. The policies on file with PEQAB are current.

Honours Bachelor of Producing for the Creative Industries | 75

5.1.2 Faculty Hiring and On-boarding Full-time Faculty hiring ensures appropriate credentials, expertise, and teaching excellence. Both academic and professional credentials are required, as per the Employee Academic and Professional Credential Policy (Sheridan, 2002). Faculty teaching in applied degree programs have a minimum of a Master’s degree in a field of study related to the subjects taught; many have their doctorates. In applied discipline-related courses, faculty also have appropriate experience related to the subject matter. The hiring process consists of at least three steps: team interviews, a teaching demonstration, and a thorough verification of credentials and references.

Sheridan is committed to excellence in teaching and learning, evidenced through quality curriculum and highly skilled faculty. Upon hire, all new teaching faculty are required to complete Sheridan’s faculty educational development program and successfully meet its learning outcomes (Teacher Education Policy, 2017). Full-time teaching faculty complete a two-year foundational program, Teaching and Learning Academies (TLA), to support their developing practice and enhance their knowledge and skills in learning- focused and scholarly teaching. TLA is comprised of a series of courses and active group learning sessions aimed at facilitating the development of a learner-centred, reflective teaching practice, building collaborative collegial partnerships, understanding College culture and policies, and supporting their continued educational development. As part of the foundational program, faculty engage in self-assessment and reflection, supported by ongoing formative-feedback and deliverables; all culminated in a research project and presentation delivered at the end of the second year.

During the probationary period, new hires are monitored regularly. Faculty are observed teaching and provided feedback by their supervisor.

Honours Bachelor of Producing for the Creative Industries | 76

Figure 6: Teaching and Learning Fundamentals Program (New Full-Time) Effective August 2018

Honours Bachelor of Producing for the Creative Industries | 77

5.1.3 Faculty Hiring and On-boarding Part-time Non-full-time faculty are required to complete a foundational program, Fundamentals of Teaching and Learning (FTL), that must be completed by their third semester of teaching at Sheridan. The FTL program encourages participants to engage in dialogue across disciplines, with an emphasis on best practices in teaching and learning through the completion of the course, guided reflections on practice, the development of a teaching toolkit (individual and collective), and the articulation of a teaching philosophy statement. The main deliverables in FLT consist of a personal teaching toolkit, made up of reflections, applications of teaching approaches, and activities. Faculty are supported in their educational development through collaborations with colleagues, the exchange of ideas, best practices, and formative feedback from peers, as well as Educational Development Consultants and the Associate Dean, Teaching and Learning, in the Centre for Teaching and Learning. Faculty are encouraged to engage in educational development following the completion of FTL to maintain currency.

Figure 7: Teaching and Learning Fundamentals Program (New Non-Full-Time)* *Effective August 2018

5.1.4 Ongoing Professional Development Sheridan is dedicated to the continued development of faculty to maintain currency and support excellence in teaching and learning, consistent with the Formative Faculty Reflection Policy and Procedures (Sheridan, 2017). Structured educational development events, sessions, and workshops are organized and facilitated by the Centre for Teaching and Learning and occur throughout the academic year.

Recent offerings include: • Sheridan Creates (yearly event)

Honours Bachelor of Producing for the Creative Industries | 78

• SparkTalks (2018) • Teaching Tuesdays (2018) • Fostering a Responsive and Supportive Learning Environment (2017-2018) • Educational Developers Caucus Institute (2017) • E-Portfolio Retreat (2016-2017) • Chalk Talk Beyond F2F (2016-2017) • Program Design Retreat Beyond F2F (2016-2017) • Digital Citizens (2016-2017) • TechTalks (2016-2017)

Individuals are also encouraged to support their ongoing development and learning through participation in conferences, workshops, or by upgrading their credentials.

Professional development funding and tuition assistance programs at Sheridan include: • Professional development funding up to $1000 per fiscal year for external PD activities • Conference scholarships program where faculty can apply for $1500 every two years. • Sabbatical leaves • Tuition reimbursement for advanced credentials outside of Sheridan (up to $15,000 for doctoral degree programs) • Employee access to Sheridan courses at a reduced rate ($20 per course) • Employee Learning Calendar (on-site offerings of PD opportunities)

5.2 Student Feedback Sheridan is committed to inspiring creative, innovative teaching and learning, and to providing a premiere learning environment. An important component of that is the regular evaluation of courses by students. Course evaluations are conducted for the following reasons:

1. To provide formative data used by professors for the affirmation of quality teaching and/or continuous improvement. 2. To provide members of the Sheridan community with information about student perceptions of teaching and courses at Sheridan. 3. To provide the aggregate data that contributes to program and curriculum review, and to support Sheridan to meet regulatory requirements (program review, PEQAB, CQAAP or other accreditation or quality assurance purposes). 4. To collect data used in the evaluation of teaching for administrative purposes such as probationary reviews, and as a component part of a formal performance management process, and for decisions related to the provision of future contracts for Sheridan’s part-time, Partial Load and Sessional professors.

Honours Bachelor of Producing for the Creative Industries | 79

5.3 Web-facilitated, Hybrid and Online Delivery Sheridan’s policies and practices relating to online learning have been reviewed and approved. The policies on file with PEQAB are current.

Honours Bachelor of Producing for the Creative Industries | 80

Section 6: Capacity to Deliver

6.1 Learning and Physical Resources Sheridan Library and Learning Services provides information and research support to students and faculty in a wide range of academic programs. We currently maintain three library learning commons at each Sheridan campus along with a learning commons at the Skilled Trades Centre. The Library’s Strategic Plan outlines key priorities for our department. Sheridan Library is available 24/7 via its website: http://library.sheridancollege.ca

Each of the sections in this report describes the range of ways that Sheridan Library and Learning Services could support the Honours Bachelor of Producing for the Creative Industries along with opportunities for future collaboration.

6.1.1 On-site and Electronic Library Resources Library supports for Producing for the Creative Industries will be similar to those already in place for Honours Bachelor of Animation, Film and TV, Game Design and Music Theatre Performance plus Journalism – New Media, and include specialized collections, classroom information literacy instruction and Tutoring (for help with life drawing, writing, citing and oral presentations).

Academic Supports For a full list of supports, see the Faculty Services Guide: http://sheridancollege.libguides.com/faculty_services

Liaison Librarian Program The Liaison Librarian Program offers specialized research support and resources for Producing for the Creative Industries, including: o In-class and online workshops centred on the development of student research and information literacy skills, for example Television and Film program level first year program orientation, and upper year research workshop for Transmedia Storytelling. o Individualized research consultations promoted during all classroom workshops.

Research Help Library and Learning Services supports student and faculty research endeavours in a variety of ways, including: • 24/7 access to e-resources, including databases, citation tutorials, e-books, streaming video, etc.

Honours Bachelor of Producing for the Creative Industries | 81

• In-person and online research chat service available during regular library hours, to assist students, faculty or staff in any location • Customized online research guides with helpful links and library resources for assignments.

Program level Research Guides are already available for Animation, Game Design, Film and Television, Journalism and Music Theatre. A course level Research Guide supports the Stagecraft Course and the FAAD Liaison attended class to present a workshop, and to view the presentations.

Research Skill Development and Scaffolding Librarians work closely with the Centre for Teaching and Learning, along with faculty and administrators of specific Sheridan programs, to build students’ research skill development. This is achieved through the intentional scaffolding of research and information literacy over the length of an academic program. This work reflects the Information Literacy Competency Standards and Framework for Higher Education endorsed by the Association of College and Research Libraries. The FAAD Liaison Librarian is available to create a Research Guide for the program (similar to the one pictured here for Technical Production for Theatre and Live Events) with tabs related to each of the creative industries and for leadership, marketing and entertainment law and research.

Figure 8. Research Guide

Academic Integrity Sheridan Library and Learning Services promotes a culture of academic integrity, and offers the following to advance it institutionally: • Reference and Citation specialists who provide guidance for students

Honours Bachelor of Producing for the Creative Industries | 82

• Events such as a “Citation Clinic” where students can find point of need help for their trickiest citation questions • Academic Integrity online tutorial which includes interactive activities and a quiz which can be integrated into SLATE, Sheridan’s learning management system • Videos with instruction on various citation formats, available on YouTube and to post on SLATE • Academic Integrity remediation

First Year Academic Skills Librarian The First Year academic skills librarian focuses on initiatives that build essential academic skills for first-year students such as citing sources, avoiding plagiarism and cheating, as well as researching and evaluating sources.

Copyright A copyright guide is posted online and in SLATE, Sheridan’s learning management system, making information and support for copyright accessible in a variety of places.

Tutoring Tutoring Centres, located at Davis, Trafalgar and HMC campuses in the Library and Learning Commons, offer students a centralized space to receive tutoring and access course-related resources and materials. Sheridan’s Library and Learning Services provides: o Tutoring in Math, Business Math, English, Chemistry and Computer Programming at no additional cost o Peer tutoring in a specific course from a students who has already received an A-grade in that course o Tutors offer Conversation Circles, which are informal sessions for students to practice speaking, with the goal of building vocabulary and improving confidence o Peer Assisted Learning in a variety of courses

Universal Access Universal access was identified as a core value in the Library and Learning Services Strategic Plan 2013-2020. The Library Team strives to provide services and collections that are flexible, responsive and accessible to meet the needs of all our users.

Users with Disabilities See the Online Guide to Accessibility in the Library: http://sheridancollege.libguides.com/c.php?g=55358&p=1442958

Honours Bachelor of Producing for the Creative Industries | 83

CAPS and Part Time Students Sheridan Library and Learning Services fully supports students enrolled in Continuing and Professional Studies and those who are part time. This includes 24/7 access to online resources, late service hours, and online tutoring and research help.

International and English Language Learner Students Representatives from the library have been invited to speak at Pre-Departure orientation sessions for students in India and China, along with orientation sessions for international students on campus. We offer: English learning resources along with digital subscriptions to international newspapers • Access to research help and tutoring services online and in-person. We have also created an online research guide for international students • Welcome videos for international students.

Enhancing Scholarship, Research and Creative Activities SOURCE (http://source.sheridancollege.ca) is Sheridan’s institutional repository, an online venue for the Sheridan community to share its scholarship, research and creative activities with a global audience. Diverse works are included in the repository including research articles, conference proceedings, art work, music, and featured student work.

Library Services connected with Associated Deans and faculty in FAAD and efforts are being made to increase the amount of exemplary student work in the repository. Currently, Theatre Sheridan productions are included in SOURCE. http://source.sheridancollege.ca/faad_visu_uniq_theatre/

Library Collections and Resources Students and faculty in Producing for the Creative Industries have full access to extensive print and electronic research collections. We aim to acquire material digitally wherever possible, essentially making Sheridan’s collections available anywhere, anytime through the library website (http://library.sheridancollege.ca).

With a growing collection of over 425,000 books, e-books and other materials, over 15, 000 print and electronic journals, 46,000 streaming videos, and more than 200 subscription databases, and a direct borrowing agreement with other institutions, the Sheridan Library already has a solid foundation to meet the needs of Production for the Creative Industries.

The Library collects material related to all areas of Production for the Creative Industries, and staff closely monitor trends and work with faculty to understand the information needs of the program. In consultation with the Program Coordinators and the Liaison Librarian, the Collections Librarian regularly adds current and relevant

Honours Bachelor of Producing for the Creative Industries | 84

material to the library collection in order to ensure that resources reflect the needs of Sheridan’s curriculum. Faculty are encouraged to make suggestions to aid in the development of the library’s collection.

Key Databases AVON: Academic Video Online Over 63,000 online videos, including documentaries, interviews, performances, and newsreels. Multidisciplinary. Criterion On-Demand Search via the Library Catalogue. See the Criterion Guide for details.

Curio Thousands of programs and documentaries from CBC Canada and Radio-Canada. See the Curio Guide for details. eMarketer PRO Collection of reports, interviews, market data and international trends analysis related to digital and mobile marketing, media and commerce. Permitted Uses

Film & Television Literature Index with Full Text Over 120 full-text journals from the field of film and television. Permitted Uses

Films on Demand Thousands of online videos, archival films and newsreels. Multidisciplinary. See the Films on Demand Guide for details and permitted uses.

GDC Vault In-depth design, technical and inspirational talks and slides from the influencers of the game development industry. Up to 25 users. For use by gaming students only. For logon details, speak with your professor. Permitted Uses

Kanopy Streaming Service Streaming video platform providing access to a hand-picked selection of educational videos. Permitted Uses

LawSource (WestlawNext Canada) Contains extensive Canadian case law, legislation, and commentary: Canadian Encyclopedic Digest and other legal journals and reviews. Permitted Uses

LexisNexis Academic Over 5,000 online newspapers, legal cases, company reports and country information. Permitted Uses

Honours Bachelor of Producing for the Creative Industries | 85

MTM: Media Technology Monitor Provides reports based on a media survey conducted of 12,000 Canadians twice a year showing results going back to 2004. To access a full-text version of each report listed in the bottom portion on the Reports page, click the “>” icon. Permitted Uses

Musical Theater Songs Find songs according to multiple parameters, including voice type, character's age, tempo, composer, lyricist, and more. Permitted Uses

Naxos Video Library Streaming video collection of over 2000 videos of classical music performances, opera, ballet, live concerts and documentaries. Up to 5 users at a time. Permitted Uses

NFB Education: National Film Board of Canada National Film Board of Canada’s online video database. Multidisciplinary. For full access, contact [email protected]. See the NFB Guide for more details and permitted uses.

Quicklaw Canadian legislation, cases, and legal journals. Funded by The Law Foundation of Ontario. Permitted Uses

Sound Effects & Music Library A library of thousands of sound effects and short music clips curated by Sheridan's Faculty of Animation, Arts, & Design. Only available on-campus. Permitted Uses

Theatre in Video Over 250 videos of performances of the world's leading plays, and over 100 film documentaries. See the Theatre Guide for details and permitted uses.

Vividata Data on Canadian usage of over 3500 products. Information includes demographics, attitudes, media consumption, retail outlets, and frequency of usage. Permitted Uses

Westlaw Collective Bargaining Index Contains an index of collective bargaining and agreements sourced through Westlaw LabourSource.

Westlaw EmploymentSource Contains cases and decisions, Labour and Employment Statutes and Regulations, as well as annotations, eLooseleafs, articles and newsletters.

Honours Bachelor of Producing for the Creative Industries | 86

Westlaw LabourSource Contains labour cases and decisions, statutes and regulations as well as annotations, eLooseleafs and collective bargaining materials. In addition, students in Producing for the Creative Industries will make use of a number of multidisciplinary databases (ex. Academic Search Complete and Academic OneFILE) and business databases (ex. ABI/Inform, Business Search Complete, PMB and WARC) to find related information.

Key Journals and Magazines • American Cinematographer - The International Journal of Film & Digital Production Techniques • American Journal of Play • Animation • Boardroom Insiders Profiles • Broadcasting & Cable • Canadian Theatre Review • Choreographic Practices • Convergence • Discourse • The Entertainment and Sports Lawyer • Entertainment Newsweekly • Entrepreneurship Theory and Practice • Ethnography • Florida Bar Journal • The George Washington International Law Review • Historical Journal of Film, Radio and Television • International Journal of Cultural Studies • International Journal of Managing Projects in Business • ISPIM Conference Proceedings (The International Society for Professional Innovation Management) • Journal of Advertising Education • Journal of Film and Video • Journal of International Commercial Law and Technology • Journal of Management and Organization • Journal of Singing - The Official Journal of the National Association of Teachers of Singing • Loyola of Los Angeles Entertainment Law Review • Management Decision • Marquette Sports Law Review • Media International Australia, Incorporating Culture & Policy • MEIEA Journal • Multimedia Tools and Applications • Music, Sound, and the Moving Image

Honours Bachelor of Producing for the Creative Industries | 87

• New Media & Society • New Technology, Work and Employment • People Management • Proceedings of the SIGCHI Conference on human factors in computing systems • Romanian Journal of Artistic Creativity • Seton Hall Journal of Sports and Entertainment Law • Sociology • Streaming Media Magazine • Television & New Media • Theatre Topics • Tulane Law Review • TV Technology

E-Book Databases Books24x7 Over 29,000 ebooks and 21,500 videos covering business, engineering, and IT topics. See the Books 24x7 Guide for details. Permitted Uses

IEEE Xplore Digital Library All IEEE journals, transactions, and magazines, as well as the proceedings from 125 IEEE conferences, over 1000 ebooks from MIT and Wiley-IEEE Press, as well as all active IEEE standards. Permitted Uses

Safari Books Online Over 12,400 technology, digital media, and business books and videos online. See the Safari Guide for details. Up to 20 users at a time. Permitted Uses

Streaming Video & Tutorial Databases Alexander Street Press • Producing for the Theatre: the business of the theatre • Producing for the theatre: the dreamers and the builders • Producing for the theatre: the forces who run the theatre

Lynda.com Over 3,000 videos on computer software, business skills, and design concepts. See the Lynda.com Guide for details and permitted uses. Sample courses include: • Contracting for Creatives • Creativity Bootcamp • Design Thinking: Lead Change in Your Organization • Developing Resourcefulness • Global Strategy

Honours Bachelor of Producing for the Creative Industries | 88

• How to Set Team and Employee Goals • An Insider’s Guide to Today’s Music Biz 07: Record Labels • Managing Diversity • Organization Communication • Risk-Taking for Leaders • Transition from Manager to Leader • Understanding Copyright: A Deeper Dive

Sample learning paths include: • Become a Film Producer • Become a Manager • Become a Video Production Crewmember • Fostering Collaboration • Master in-demand Skills for Technology Leadership

Selected E-Books & Books Ament, V. T. (2014). The foley grail: The art of performing sound for film, games, and animation (2nd ed.). Burlington, MA: Focal Press. doi:10.4324/9780203766880

Angelides, M. C., Agius, H., & Agius, D. H. (2014). Handbook of digital games (1st ed.). US: IEEE Press.

Bancroft, T. (2014). Directing for animation: Everything you didn't learn in art school. Burlington, MA: Focal Press. doi:10.4324/9780240818030

Bernstein, G. (2015). Understanding the business of entertainment: The legal and business essentials all filmmakers should know. Burlington, MA: Focal Press. doi: 10.4324/9781315773131

Boyle, R., & Kelly, L. W. (2016). The television entrepreneurs: Social change and public understanding of business. Burlington, VT: Ashgate.

Cantor, J., Hurley, H., & ebrary, I. (2014). Secrets of CG short filmmakers. Boston: Cengage Learning PTR.

Chandler, H. M. (2014). The game production handbook (3rd ed.). Burlington, MA: Jones & Bartlett Learning.

Clark, R. (2014). Mixing, recording, and producing techniques of the pros: Insights on recording audio for music, video, and games (2nd ed.) Course Technology / Cengage Learning.

Cohen, S. (2012). This sweater is for you: Celebrating the creative process in film and art: With the animator and illustrator of "the hockey sweater". Toronto: ECW Press.

Honours Bachelor of Producing for the Creative Industries | 89

Collins, D. (2016). The act of musical composition: Studies in the creative process (New ed). Burlington, VT: Ashgate. doi: 10.4324/9781315612256

Condry, I. (2013). The soul of anime: Collaborative creativity and Japan's media success story

Curtin, M., Holt, J., & Sanson, K. (2014). Distribution revolution: Conversations about the digital future of film and television (1st ed.). US: University Of California Press. doi:10.1525/j.ctt6wqc5w

Fernández-Vara, C. (2015). Introduction to game analysis. New York: Routledge.

Fisher, W. W., & Books24x7, I. (2004). Promises to keep: Technology, law, and the future of entertainment. Stanford, Calif: Stanford Law and Politics.

Friedmann, A. (2014). Writing for visual media (4th ed.). Burlington, MA: Focal Press. doi: 10.4324/9781315867816

Fullerton, T. (2014). Game design workshop: A playcentric approach to creating innovative games (3rd ed.). Oakville: A K Peters/CRC Press.

Gale Encyclopedia of American Law, 2010

Garvey-Williams, R. (2015). Mastering composition: The definitive guide for photographers. London: Ammonite Press.

Hewison, R., & Holden, J. (2016). The cultural leadership handbook: How to run a creative organization. Burlington, VT: Gower.

Inouye, K. (2014). The theatrical firearms handbook (1st ed.). Burlington, MA: Focal Press. doi:10.4324/9781315733982

Kellison, C., Morrow, D., & Morrow, K. (2013). Producing for TV and new media (3rd ed.). Burlington, MA: Focal Press.

Kline, S., Dyer-Witheford, N., & De Peuter, G. (2014). Digital play: The interaction of technology, culture, and marketing. Montréal: McGill-Queen's University Press.

Landry, P. (2012). Scheduling and budgeting your film: A panic-free guide (1st ed.). Oxford: Focal Press. doi:10.4324/9780240816654

Lee, J. J., Jr, & Gillen, A. M. (2012). The producer's business handbook: The roadmap for the balanced film producer (3rd ed.). New York: Elsevier, Focal Press. doi:10.4324/9780240814643

Honours Bachelor of Producing for the Creative Industries | 90

Mann, D., Johnson, D., Gray, J., Brooker, W., Russo, J. L., Caldwell, J. T. Jenkins, H. (2014). Wired TV: Laboring over an interactive future. Piscataway: Rutgers University Press.

Martin, J. R. (2014). Create documentary films, videos and multimedia: A comprehensive guide to using documentary storytelling techniques for film, video, the internet and digital media projects (3rd ed.). Ashland: Real Deal Press.

Millerson, G. (2016). Effective TV production (3rd ed.). New York, NY: Routledge. doi: 10.4324/9780080505121

Mitchell, B. (2017). Independent animation: Developing, producing and distributing your animated films. Boca Raton: Taylor & Francis.

Moore, M. E. (2016). Basics of game design (1st ed.). Boca Raton, FL: CRC Press.

Owens, J. (2016). Television production (16th ed.). New York, NY: Focal Press. doi:10.4324/9781315732022

Perlmutter, D. (2014). America toons in: A history of television animation. Jefferson, North Carolina: McFarland & Company, Inc., Publishers.

Phillips, R. J. (2011). Arts entrepreneurship and economic development: Can every city be "austintatious"? Boston: Now.

Phillips, W., & Books24x7, I. (2014). A composer's guide to game music. Cambridge, Mass: MIT Press.

Rizzo, M. (2015). The art direction handbook for film & television (2nd ed.). London: Focal Press.

Rosenthal, A., & Eckhardt, N. (2016). Writing, directing, and producing documentary films and digital videos (5th ed.). Carbondale: Southern Illinois University Press.

Ryan, M., Emerson, L., & Robertson, B. J. (2014). The Johns Hopkins guide to digital media. Baltimore: The Johns Hopkins University Press.

Shorthose, J. (2012). Understanding creative business: Values, networks and innovation. Farnham: Gower Publishing Ltd.

Stribling, Z., & Girtain, R. (2016). The technical director's toolkit: Process, forms, and philosophies for successful technical direction. New York, NY: Focal Press.

Honours Bachelor of Producing for the Creative Industries | 91

Vielmetter, G., Sell, Y., & Books24x7, I. (2014). Leadership 2030: The six megatrends you need to understand to lead your company into the future. New York: AMACOM.

Wales, L. M. (2016). The complete guide to film and digital production: The people and the process (2nd ed.). New York, NY: Routledge.

Welch, P. G. (2016). SEMPRE studies in the psychology of music: The act of musical composition: Studies in the creative process Taylor and Francis.

Winder, C., Dowlatabadi, Z., & Miller-Zarneke, T. (2012). Producing animation (2nd ed.). Waltham, MA: Focal Press.

Zeiser, A. (2015). Transmedia marketing: From film and TV to games and digital media. Burlington, MA: Focal Press. doi: 10.4324/9781315880112 Unique Collections Students will have access to a collection of board games and Play Station games and consoles.

Figure 9. Snapshot of Unique Collections

Next Steps for Enhancement

Based on evidence presented in this review, Sheridan Library and Learning Services is well prepared to support Production for the Creative Industries. The current collection supports teaching and learning about: leadership and management in creative

Honours Bachelor of Producing for the Creative Industries | 92

industries, storytelling, and production and creativity in the fields of animation, broadcast, digital media, film, game design, television and theatre. Students will receive academic support throughout all stages of their program via Library and Learning Services. This occurs through the liaison librarian program, research help services, academic integrity initiatives, the first year academic skills librarian team, services for international students, and tutoring. Faculty and student work is also disseminated through SOURCE, Sheridan’s institutional repository. Sheridan Library and Learning Services works closely with faculty and administration to ensure that Production for Creative Industries needs will be met on an ongoing basis.

To continue and enhance library support of Production for the Creative Industries, we recommend the following steps: • Continue to include the FAAD Liaison Librarian in program development and review • Add additional book and ebook titles in the area of entertainment law

6.1.2 Computer Resources and Web Access As with all of our Sheridan degree programs, technology is built into curriculum. As such, students would bring their own devices (mobile). Specialized software, geared to the demands of the program will be loaded on to these computers as required.

6.1.3 Classroom Space and Seating Capacity Table 9. Producing for Creative Industries classroom space requirements Number of new Unduplicated Number of existing classrooms classrooms Year annual head (include seating capacity) required (include count seating capacity) 1 classroom/lecture space for combined Existing at Trafalgar Yr. 1 49 2 sections 1 “puddle” classroom plus lab 1 classroom/lecture space for combined Existing at Trafalgar Yr. 2 95 2 sections 1 “puddle” classroom plus lab 1 classroom/lecture space for combined Existing at Trafalgar 2 sections Yr. 3 137 1 classrooms or “puddle” rooms plus lab

1 classroom/lecture space for combined Additional production 2 sections studio at Trafalgar, Yr. 4 177 1 classrooms or puddle room plus lab capacity 36 1 studio production space for combined capstone sections

Honours Bachelor of Producing for the Creative Industries | 93

6.1.4 Specialized Equipment, Workstations and Laboratory Space Laboratories/Equipment In Year 1, students will have the opportunity to exercise their creative skills in professional primers; each one will be delivered in a studio environment. In Year 3, students elect two specializations among four streams of animation, theatre, game development and Film/TV/Digital Media. The curriculum for these two electives will be delivered in studio classrooms, where section size would be 13 students (maximum) per elective with a cap of 10 (minimum) to ensure viability. All other course will be taught in classrooms or lecture halls.

In Year 4, in addition to planning and theory curriculum, students engage in a capstone project in one of their specializations. Some students may join capstone production teams in other programs. For example, a student may develop their capstone project alongside of a Canadian Music Theatre Project. However, the majority of students will engage in capstone projects with external partners. Additional production space will be required in the fourth year of the program. The location of the production space will be considered through the Master Campus Planning process.

Specialized Equipment As noted, specialized software and hardware will be identified in order to run effective Financial and Production Planning curriculum. Other specialized equipment would already be part of existing programs at the Trafalgar Campus, where students in Producing for the Creative Industries could avail themselves.

6.2 Resource Renewal and Upgrading Sheridan follows an ever-greening strategy for technology regardless of whether the technology is in the hands of students, faculty or administrators. Technology is kept current with refresh windows varying from two to five years depending on the type of technology. Sheridan campuses are fully wireless with more than 1500+ wireless access points deployed across the four campuses. Students have wireless access in classrooms, dedicated student study rooms, residences and in common areas; many of these spaces have wired network connectivity as well.

Classroom teaching and learning equipment are refreshed on regular cycles based on a priority and needs basis. Virtually all classrooms, studios and labs at Sheridan are equipped with standardized teaching podiums with audio/visual control, a podium computer with DVD playback capability, data projectors, document camera and, where required, a sound system. Approximately 385 classrooms are equipped with technology and 150 of these are fully mobile which means that, in addition to the standard teaching equipment, there are wired network and power connections available for student use.

Honours Bachelor of Producing for the Creative Industries | 94

The Sheridan library resource has an operational budget for collections of $1.5 million annually. The Library is allotted an additional $150 for each new degree student.

6.3 Support Services The Student Advisement Centre helps with program change advisement, college form completion, college policy and procedure explanation, general education and program elective selection, orientation and student success programs, course/program withdrawal consultation and transfer information for other programs and institutions. Each program at Sheridan includes faculty release time for academic advising.

The Career Centre is one-stop shopping for academic and career success, offering tutoring, career planning, and employment services.

Personal Counselling: Sheridan’s professional counsellors work with students on a confidential basis to help them achieve their personal goals. Consultation is available to any student seeking advice on non-academic issues on a drop-in or appointment basis.

Cooperative Education: The Cooperative Education & Internship Office administers the internships that are required for successful completion of degree programs.

Accessible Learning Services: Staff work in collaboration with students with disabilities, faculty and support staff to ensure that fair, equitable and appropriate accommodations are developed and implemented.

The International Centre provides assistance with processing international student applications, advice on housing, residence, off-campus housing or home stay, Health Insurance Coverage/claims and medical referrals, advice on student authorization/visas and extensions, visa and travel information, immigration regulations regarding co-op terms, internships or field placements, personal concerns or emergency situations.

Alumni Association: programs and services for Alumni include Insurance & Credit Card Affinity Benefit Programs; access to Athletic Centres, Libraries & Career Services, Optimal Resume; discounts at Theatre Sheridan; Ovation Magazine once a year and Ovation e-newsletter monthly.

Bookstore: provides textbooks – new and used, stationary and professional grade fine art and paper supplies, Sheridan logo clothing, gifts and backpacks, software, general interest books & magazines, personal care items.

Cafeteria: Full service cafeteria facilities and vending machines.

The Sheridan Print Centre: The Sheridan Print Centre is a leader in every facet of document management including:

Honours Bachelor of Producing for the Creative Industries | 95

full-service black-and-white or color copying and printing, special papers, posters and banners, laminating, transparencies and finishing, multimedia and graphics, GLink™ online electronic submission of any document.

Child Care/Preschool: Full-day early childhood programs are available for children 18 mos. to 5 years of age at the Trafalgar Road Campus in Oakville and the Mississauga Civic Centre.

The Financial Aid Office can assist with Ontario Student Assistance Program (OSAP), Part-time Canada Student Loan, Canada Study Grant funding for students with Dependent Children, Ontario Special Bursary Program Funding, Bursary for Students with Disabilities Funding, Child-care Bursary Funding, Sheridan Tuition Reinvestment Bursaries, Ontario Student Opportunity Trust Fund Assistance (OSOTF)

Athletic Therapy Centre provides treatments for recreational/sports injuries.

Athletics and Recreation: Membership to the Athletic Centres is included with tuition fees. Sheridan’s Health Centres offer professional health care, lifestyle and health counselling, and referrals for students. Sheridan has three Residence buildings, two in Oakville and one at the Davis Campus in Brampton. Students enjoy the comforts of home with easy access to all College services and facilities. All residences are conveniently located close to many sports and entertainment opportunities in the Greater Toronto area.

Facilities Management supports and enhances the quality of the teaching and learning environment by providing a service oriented approach to maintaining the integrity and efficiency of college facilities, in a cost effective manner.

The Library Learning Commons is a state-of-the-art study support environment designed with students’ comfort, convenience and stimulation in mind. The LLC brings together in one place the services that support students in their learning, writing, research, and use of information technology.

Sheridan oneCARD: The Sheridan oneCARD is a multipurpose identification and access card for students and staff. It provides a consistent method of identification that will give an additional means of establishing a safe and secure environment for students and employees on campus. Also, the oneCARD will be used to provision users with access to Sheridan’s Libraries, Network Printers and Campus Recreation facilities.

Honours Bachelor of Producing for the Creative Industries | 96

6.4 Faculty 6.4.1 Proposed Enrolment Under the current enrolment plan, the projection for year one of the degree program includes 49 full-time students. The target is determined through consultation with the Office of the Registrar and consideration of the portfolio admission requirement. Taking into account attrition over the course of the program, we anticipate that by year four, the program will achieve a stable state of 177 full-time degree-seeking students. Attrition is minimal, and the expectation is that it will mainly occur at the end of 2nd year; this is based on historical data from other FAAD degree programs.

In the majority of courses the students will be distributed across two sections resulting in section sizes of approximately 25 students each. In at least one course per semester, there will be a lecture based delivery, thus bringing the cohort of 49 together in a small lecture hall. In year 1, semesters 1 and 2, and in years 3 and 4, there are courses that allow students to exercise their creative skills in animation, game development, film and television, and theatre. These classes will take place in a studio setting. In year 3, students choose two out of four electives each term. For these classes only, numbers will be smaller at 12 or 13 students (maximum), with a cap of 10 (minimum) imposed to ensure budgetary viability. Additional production space will be required in the fourth year of the program. The location of the production space will be considered through the Master Campus Planning process. In year 4 the capstone course will bring the cohort together; the capstone course will be placed in a production studio that mimics an industry environment.

Table 10. Producing for the Creative Industries Enrolment Plan Proposed Enrolment Year 1 Year 2 Year 3 Year 4 Year 5 Annual Ongoing Unduplicated annual head count• 49 95 137 177 177 177 Full-Time Year 1 49 49 49 49 49 49 Full-Time Year 2 0 46 46 46 46 46 Full-Time Year 3 0 0 42 42 42 42 Full-Time Year 4 0 0 0 40 40 40 Anticipated No. of 0 0 0 40 40 40 Graduates Note. The number of unique students registered in at least one of the three academic terms during the year. Students are not counted more than once. Note that this is different from the budget, which is based on Term Registrations (the number of full-time students enrolled in a particular term). The budget is based on full-time student registrations.

6.4.2 Staffing Implications The program has planned an effective use of existing faculty, resources and space based on leveraging resources in both FAAD and the Pilon School of Business. The

Honours Bachelor of Producing for the Creative Industries | 97

program will be located at the Trafalgar Campus in Oakville for all courses, including business courses, in order to harmonize delivery with FAAD. It is anticipated that one full time faculty will be assigned to coordinate and teach 9 hours per week in the program. This individual will be drawn from the existing faculty pool in FAAD. Ideally, the individual will be a faculty member who participated in the development of the program. In year 2, a new faculty hire will be added and she/he will teach 12 hours per week in the first year, 15 hours per week in subsequent years. In year 3 and 4 there will be one additional net new hire and one additional full time equivalent position based on available professors from within the FAAD or Pilon pool.

These full time positions are necessary to provide stability to the program. The remainder of the TCHs will be taught by part time or partial load instructors who will provide expertise in the specific areas of business and the creative industries. For business faculty, a PhD will be the required terminal credential. For the creative industries courses, the terminal credential for teaching in the program will be a Masters in a related discipline or Master of Fine Arts.

All efforts will be made to ensure that business faculty are well versed in the creative industries and that arts faculty will understand the fundamentals of business within a production environment. This alchemy of knowledge will be supported through the Super LAC, professional development, faculty meetings, workshops and conferences.

Table 11. Producing for the Creative Industries Enrolment and Projected Staffing Requirements Enrolment Staffing Requirements – Projected Unduplicated Cumulative full- Cumulative Projected Projected Projected annual head time faculty part-time Faculty non-faculty non- count equivalents faculty Hiring positions faculty equivalents hiring 1 full time 2.1* (existing from Yr. Y1 49 FAAD): Prgm N/A N/A N/A 1 Total coordinator + 9 TCH/week

1 coordinator + 9 1 full time Y1 49 TCH net new Yr. Y2 46 1 new hire @ 12 4.0 faculty N/A N/A 2 95 Total TCH hire

Honours Bachelor of Producing for the Creative Industries | 98

Enrolment Staffing Requirements – Projected Unduplicated Cumulative full- Cumulative Projected Projected Projected annual head time faculty part-time Faculty non-faculty non- count equivalents faculty Hiring positions faculty equivalents hiring 1 coordinator + 9 Y1 49 TCH 1 full time Yr. Y2 46 1 2nd yr hire @ net new 5.3 N/A N/A 3 Y3 42 15 TCH faculty 137 Total 1 new hire @ 12 hire TCH 1 coordinator + 9 TCH 1 2nd yr hire @ Y1 49 15 TCH Y2 46 1 3rd yr hire @ 15 Yr. 4.7 Y3 42 TCH N/A N/A N/A 4 Y4 40 1 full time @ 15 177 Total TCH (existing from PSB or FAAD)

6.5 CV Release The college has on file and available for inspection, from all faculty and staff whose curriculum vitae (CVs) are included in this submission, signatures that attest to the truthfulness and completeness of the information contained in their CV and agreeing to the inclusion of their curriculum vitae in any documents/websites associated with the submission, review and final status of the program application.

Honours Bachelor of Producing for the Creative Industries | 99

6.6 Curriculum Vitae of Faculty Delivering Core Courses

Not available for web submission.

6.6.1 Curriculum Vitae of Faculty Delivering Non-Core Courses

The CVs of faculty responsible for non-core courses on file with PEQAB are current.

Honours Bachelor of Producing for the Creative Industries | 100

Section 7: Credential Recognition Standard

The FAAD art and design programs are recognized by the National Association of Schools of Art and Design (NASAD) and, according to the nomenclature for non-U.S. institutions, programs are described as substantially equivalent. Sheridan is the second institution in Canada, after the Alberta College of Art and Design, to receive this prestigious recognition. This recognition benefits Sheridan by providing access to the network of NASAD accredited institutions and events such as National Portfolio Day, an open forum for the critique of student/applicant portfolios.

7.1 University Credential Recognition Producing for the Creative Industries has been designed to enable students to apply for graduate studies. Graduates will be able to seek further study in masters programs, both nationally and internationally. Graduates from the proposed program may be eligible to apply for master’s level programs in areas such as media studies, fine arts, digital and new media, communications, film studies, and more.

The proposed program has received the following Academic letters of support:

Table 12. Academic Letters of Support Institution/Program Location Ryerson University Toronto, Ontario Master of Fine Arts – Documentary Media Queen’s University Kingston, Ontario Dan School of Drama and Music Master of Arts Administration and Arts Leadership York University Toronto, Ontario Schulich School of Business Master of Business Administration with a specialization in Arts, Media and Entertainment Management Institute of Art Design & Technology Dublin, Ireland National Film School Cultural Event Management Postgraduate Diploma Master of Arts in Creative Production & Screen Finance Master of Arts in Art Research & Collaboration at IADT

Honours Bachelor of Producing for the Creative Industries | 101

March 23, 2018

Dr. Angela Stukator, Associate Dean Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning 1430 Trafalgar Road, Oakville, ON Canada L6H 2L1

Re: Proposed Bachelor Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning, Ontario

Dear Dr. Stukator, I have reviewed the proposed baccalaureate degree in Producing for the Creative Industries from the Sheridan College Institute of Technology and Advanced Learning in Ontario and send this letter as a demonstration of support of the proposed program from the School of Image Arts, Ryerson University. The overall design of the program demonstrates how graduates will be prepared with the knowledge and skills appropriate to the degree-level standard for similar degree programs in North America. The time allotments assigned to the program as a whole and to components in the program appear appropriate to the stated learning outcomes.

Students from the proposed program would be considered to be well qualified applicants for our graduate program in Documentary Media (MFA). The graduates of the Sheridan Baccalaureate program would undergo our standard screening process of assessment for all applicants, including an assessment of their GPA, stated intention and a portfolio review.

Sincerely,

Blake Fitzpatrick, PhD Professor and Chair, School of Image Arts, Ryerson University, [email protected] 416-979-5000-6855

Honours Bachelor of Producing for the Creative Industries | 102

DAN SCHOOL OF DRAMA AND MUSIC 99 University Avenue Queen’s University Kingston, Ontario Dr. Angela Stukator, Associate Dean Canada K7L 3N6 Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning 1430 Trafalgar Road, Oakville, ON Canada L6H 2L1

7 April 2018

Re: Proposed Bachelor Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning, Ontario

Dear Dr Stukator

I have reviewed the proposed baccalaureate degree in Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning in Ontario and send this letter as a demonstration of our institution’s support of the proposed program.

I believe from the materials presented to me that the courses and overall design of the program demonstrates how graduates will be prepared with the knowledge and skills appropriate to the degree- level standard we expect for students holding a BA Honours or comparable degree from a North American institution, and that this program meets or exceeds the requirements of the field of study/practice. The time allotments assigned to the program as a whole and to components in the program appear appropriate to the stated learning outcomes.

Your proposed curriculum will support graduates who seek admission to our graduate program in Arts Administration and Arts Leadership at the Dan School of Drama and Music in Queen’s University, Canada. The graduates of this Baccalaureate program would undergo our standard screening process for all potential incoming students.

Sincerely

Craig Walker, Ph.D., F.R.S.C. Director of the Dan School of Drama and Music Professor of Drama, English and Cultural Studies

Honours Bachelor of Producing for the Creative Industries | 103

Honours Bachelor of Producing for the Creative Industries | 104

12th March 2018

Dr. Angela Stukator, Associate Dean Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning 1430 Trafalgar Road, Oakville, ON Canada L6H 2L1

Re: Proposed Bachelor of Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning, Ontario

Dear Angela,

I have reviewed the proposed baccalaureate degree in Producing for the Creative Industries from Sheridan. Please take this letter as a demonstration of the National Film School at the Institute of Art Design & Technology in Ireland’s support of the proposed programme.

I believe from the materials presented to me that the courses and overall design of the programme appear to demonstrate how graduates will be prepared with the knowledge and skills appropriate to the degree-level standard for similar degree programme Europe and that this programme meets or exceeds the requirements of the field of study/practice. The time allotments assigned to the programme as a whole and to components in the programme appear appropriate to the stated learning outcomes.

Your proposed curriculum will support graduates who seek admission to several of our graduate programme including our postgraduate diploma in Cultural Event Management, MA in Creative Production & Screen Finance, MA in Art Research & Collaboration at IADT. The graduates of this baccalaureate programme would undergo our standard screening process for all potential incoming students.

I wish you every success in the development of this project.

Yours Sincerely

______Rónán Ó Muirthile Head of Department – Film & Media The National Film School

Faculty of Film, Art & Creative Technologies, IADT Dun Laoghaire, Carriglea Park, Kill Avenue, Dun Laoghaire, Co Dublin T: + 353 1 239 4600 E: [email protected] W: www.iadt.ie

Honours Bachelor of Producing for the Creative Industries | 105

7.2 Industry Credential Recognition

The proposed program has received the following Industry letters of support:

Table 13. Industry Letters of Support Name Location Boat Rocker Media Toronto, ON Canadian Film Centre Toronto, ON entertainmentOne Toronto, ON Guru Studio Toronto, ON House of Cool Toronto, ON Insight Productions Toronto, ON Mirvish Productions Toronto, ON Nelvana Toronto, ON Ontario Media Development Corporation Toronto, ON Pipeline Studios Hamilton, ON Project 10 Productions Inc. Toronto, ON Stratford Festival Stratford, ON Take 5 Productions Toronto, ON Toronto International Film Festival Toronto, ON

Honours Bachelor of Producing for the Creative Industries | 106

Honours Bachelor of Producing for the Creative Industries | 107

Honours Bachelor of Producing for the Creative Industries | 108

Honours Bachelor of Producing for the Creative Industries | 109

October 9, 2018

Dr. Angela Stukator, Associate Dean Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning 1430 Trafalgar Road, Oakville, ON Canada L6H 2L1

Re: Proposed Bachelor of Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning, Ontario

Dear Dr. Stukator,

I have reviewed the proposed baccalaureate degree in Producing for the Creative Industries from Sheridan and send this letter as a demonstration of our studio’s support of the proposed program.

I believe from the materials presented to me that the courses and overall design of the program appear to demonstrate how graduates will be prepared with the knowledge and skills appropriate as producers or project managers in the creative industries. I can anticipate that my studio would be very interested in considering students in the program for an internship and/or that graduates of the program would be competitive for employment. It is very important that creative people understand that this is a ‘business’ hence why it’s called ‘show business’ and having the educational background that allows you to work within a creative environment is crucial especially in today’s climate. I wholeheartedly agree with a program of this nature and believe it will be a success if kept relevant to today’s media world.

Best Regards,

Jocelyn Hamilton ( President, Canada Entertainment One Television ( [email protected] ( 416-646-4452

Entertainment One www.entertainmentone.com | P 416.646.2400 | F 416.646.6998 134 Peter Street | Suite 700 | Toronto ON M5V 2H2 | Canada

Honours Bachelor of Producing for the Creative Industries | 110

Honours Bachelor of Producing for the Creative Industries | 111

Dr. Angela Stukator, Associate Dean Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning 1430 Trafalgar Road, Oakville, ON Canada L6H 2L1

September 28, 2018

Re: Proposed Bachelor of Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning, Ontario

Dear Angela,

I have reviewed the proposed baccalaureate degree in Producing for the Creative Industries from Sheridan and send this letter as a demonstration of our studio/institution’s support of the proposed program.

I believe from the materials presented to me that the courses and overall design of the program appear to demonstrate how graduates will be prepared with the knowledge and skills ap propriate as producers or project managers in the creative industries. I can anticipate that my studio/institution would be very interested in considering students in the program for an internship and/or that graduates of the program would be competitive for employment.

Sincerely,

Wes Lui CEO House of Cool

www.houseofcool.com 345 Adelaide Street W. 6th Floor, Toronto ON M5V 1R5 t: 416 591-6500 f: 416 591-6501

Honours Bachelor of Producing for the Creative Industries | 112

Honours Bachelor of Producing for the Creative Industries | 113

Honours Bachelor of Producing for the Creative Industries | 114

Honours Bachelor of Producing for the Creative Industries | 115

Honours Bachelor of Producing for the Creative Industries | 116

Honours Bachelor of Producing for the Creative Industries | 117

Pipeline Studios 10 George St Unit 4, Hamilton, ON L8P 1C8

Date: August 30th 2017

Re: Proposed Bachelor Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning, Ontario

Dear Dr. Angela Stukator, Associate Dean, Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning

I have reviewed the proposed baccalaureate degree in Producing for the Creative Industries from the Sheridan College Institute of Technology and Advanced Learning in Ontario and send this letter as a demonstration of our institution/company’s support of the proposed program.

I believe from the materials presented to me that the courses, learning outcomes and standards in the subjects/courses in the program appear to demonstrate how graduates will be prepared with the knowledge and skills appropriate to the industry needs. Further, this program meets or exceeds the requirements of the field of study/practice. The time allotments assigned to the program as a whole and to components in the program appear appropriate to the stated learning outcomes.

Your proposed curriculum will support graduates who seek employment opportunities as Production Coordinator, Asset Manager, Production Manager, Line Producer, Development Production, and Producer, at Pipeline Studios. The graduates of this Baccalaureate program would undergo our standard screening process for all potential employees.

Sincerely,

Darin James Bristow Supervising Producer/Creative Director, Pipeline Studios

Contact Information: [email protected] Pipeline Studios, 10 George St Unit 4, Hamilton, ON L8P 1C8 416-879-5356

Honours Bachelor of Producing for the Creative Industries | 118

Dr. Angela Stukator, Associate Dean Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning 1430 Trafalgar Road, Oakville, ON L6H 2L1

Date: October 10, 2017

Re: Proposed Bachelor Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning, Ontario

Dear Angela,

I have reviewed the proposed baccalaureate degree in Producing for the Creative Industries from the Sheridan College Institute of Technology and Advanced Learning in Ontario and send this letter as a demonstration of Project 10 Productions Inc.’s support of the proposed program.

Project 10 believes from the materials presented that the courses, learning outcomes and standards in the subjects/courses in the program appear to demonstrate how graduates will be prepared with the knowledge and skills appropriate to the industry needs. As our business shifts it is critical we develop the creative/managerial skills needed to build our cultural and content creation needs of the future. This program exceeds the requirements of the field of study/practice. The time allotments assigned to the program as a whole and to components in the program appear appropriate to the stated learning outcomes.

I have no doubt that your proposed curriculum will support graduates who seek employment opportunities in the producing/business development in Canadian and global cultural industries.

As an industry leader, I fully endorse and applaud Sheridan College for proposing and pursuing this program.

Sincerely,

Andrew Barnsley President/Executive Producer Project 10 Productions Inc. 225 Commissioners Street, Suite 205 Toronto, ON, M4M 0A1

E: [email protected] P: 416-434-8266

Honours Bachelor of Producing for the Creative Industries | 119

Honours Bachelor of Producing for the Creative Industries | 120

Honours Bachelor of Producing for the Creative Industries | 121

Dr. Angela Stukator, Associate Dean Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning 1430 Trafalgar Road Oakville, ON L6H 2L1

August 29, 2017

Re: Proposed Bachelor Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning, Ontario

To Whom it May Concern:

On behalf of the Toronto International Film Festival (TIFF), I am pleased to write a letter in support of the proposed baccalaureate degree in Producing for the Creative Industries from the Sheridan College Institute of Technology and Advanced Learning in Ontario.

After reviewing the materials presented in the proposal, I believe that the course offerings, learning outcomes, and expectations address the knowledge and skills that graduates will need to be successful contributors within the creative industries, possibly on a team of creators or as a member of a governing body that supports film production through financing or training and professional development. Further, the time allotments assigned to the program as a whole and to components in the program appear appropriate to the stated learning outcomes.

As an organization dedicated to transforming the way people see the world through film, TIFF pursues a range of activities that align with this degree programme and can attest to value of a curriculum that intersects both academic and practical outcomes. In addition to the breadth of course offerings proposed, the focus on skill building is a key aspect of the programme that will benefit students greatly for work in a fast-paced, ever changing industry.

TIFF has been honoured to partner with Sheridan on a number of educational programmes and initiatives. Should their proposal be successful, we look forward to possible collaborations that will connect prospective students, faculty and the general public in conversation on important issues surrounding media creation and storytelling across multiple platforms. Sheridan’s proposed curriculum will support graduates who seek employment opportunities in film and television industries. The graduates of this Baccalaureate program would undergo our standard screening process for all potential employees.

Sincerely,

Theresa Scandiffio, PhD Senior Director, Learning, Toronto International Film Festival Ph: 416-934-3201 E: [email protected]

Honours Bachelor of Producing for the Creative Industries | 122

Dr. Angela Stukator, Associate Dean Faculty of Animation, Arts and Design Sheridan College Institute of Technology and Advanced Learning 1430 Trafalgar Road Oakville, ON L6H 2L1

February 22, 2018

Re: Proposed Bachelor of Producing for the Creative Industries from Sheridan College Institute of Technology and Advanced Learning, Ontario

To Whom It May Concern:

On behalf of the Toronto International Film Festival (TIFF), I am pleased to write a letter in support of the proposed baccalaureate degree in Producing for the Creative Industries from the Sheridan College Institute of Technology and Advanced Learning in Ontario.

After reviewing the materials presented in the proposal, I believe from the materials presented to me that the courses and overall design of the program appear to demonstrate how graduates will be prepared with the knowledge and skills appropriate as producers or project managers in the creative industries. I can anticipate that my institution would be very interested in considering students in the program for an internship and that graduates of the program would be competitive for employment.

As an organization dedicated to transforming the way people see the world through film, TIFF pursues a range of activities that align with this degree programme and can attest to value of a curriculum that intersects both academic and practical spheres. In addition to the breadth of course offerings proposed, the focus on skill building is a key aspect of the programme that will benefit students greatly for work in a fast-paced, ever changing industry.

TIFF has been honoured to partner with Sheridan on a number of educational programmes and initiatives. Should their proposal be successful, we look forward to possible collaborations that will connect prospective students, faculty and the general public in conversation on important issues surrounding media creation and storytelling across multiple platforms. Sheridan’s proposed curriculum will support graduates who seek employment opportunities in film and television industries. The graduates of this Baccalaureate program would undergo our standard screening process for all potential employees.

Sincerely,

Theresa Scandiffio, PhD Senior Director, Learning Toronto International Film Festival Ph: 416-934-3201 E: [email protected]

Honours Bachelor of Producing for the Creative Industries | 123

Section 8: Regulation and Accreditation Standard

There is no requirement for the program to be certified, registered, licensed or granted some form of official recognition by a regulatory authority in order for graduates to work in the occupation in Ontario or use an occupational title. It is important to note; however, that during the feasibility stage of program development, two competency frameworks were identified which helped to inform the foundation of the curriculum. The Program Learning Outcomes were developed at the intersection of the Cultural Human Resources Council (CHRC) and the Association of Arts Administration Educators (AAAE) frameworks, informed and corroborated by the knowledge and skills requirements identified by the Ad Hoc PAC (Sheridan College, 2017).

The Association of Arts Administration Educators (AAAE) responsible for the Standards for Arts Administration Undergraduate Program Curricula:

The Association of Arts Administration Educators (AAAE) is a not-for-profit organization incorporated in the United States. Its mission is to represent college and university graduate and undergraduate programs in arts administration, encompassing education in the management of visual, performing, literary, media, cultural and arts service organizations (Association of Arts Administration Educators, 2012, p. 1).

The Cultural Human Resources Council (CHRC) developed the Cultural Managers - Chart of Competencies. “The Cultural Human Resources Council (CHRC) brings together cultural workers and employers to address training, career development and other human resource issues” (Cultural Human Resources Council, 2016, p. 1).

Honours Bachelor of Producing for the Creative Industries | 124

Section 9: Nomenclature Standard

While the term “creative industries” has wide currency internationally, there is no solid consensus on the scope of industry and cultural sectors that should be included in this nomenclature. However, since currently the scope is relatively broad, encompassing media, visual arts, gaming, lively arts and even the educational sector to some, our usage of “creative industries” in the degree nomenclature is securely founded. The Ad Hoc PAC committee responded positively to the degree title.

Other post-secondary institutions in Canada have also embraced the term “creative industries” in their course offerings, and Ryerson University awards a BA for their program in Creative Industries.

In line with the Nomenclature Standard, Sheridan’s proposed degree is named the Honours Bachelor of Producing for the Creative Industries, specifying both the degree nature of the baccalaureate program and the subject of study.

This titling is in line with existing degree programs offered in the Faculty of Animation, Arts and Design including:

Honours Bachelor of Animation Honours Bachelor of Illustration Honours Bachelor of Interior Design Honours Bachelor of Photography Honours Bachelor of Craft and Design Honours Bachelor of Game Design Honours Bachelor of Film and TV Honours Bachelor of Music Theatre Performance

Honours Bachelor of Producing for the Creative Industries | 125

Section 10: Program Evaluation Standard

See electronic policy file for Sheridan’s policy and procedure on program review.

Honours Bachelor of Producing for the Creative Industries | 126

Section 11: Academic Freedom and Integrity Standard

See electronic policy file for Sheridan’s policy and procedure regarding academic integrity.

Honours Bachelor of Producing for the Creative Industries | 127

Section 12: Student Protection Standard

12.1 Student Protection Regarding Academic Calendar All printed and online communications regarding program information are verified with the relevant college areas before publication/going live. The Office of the Registrar is vigilant in ensuring all information regarding the program name (MTCU approved), duration, credential, campus, code, intake date and admission requirements is accurate. The academic Faculties vet the program information, learning outcomes and career opportunities to confirm they are accurate, up-to-date and do not misrepresent a course, outcome or program in any way.

12.2 Student Awareness of Policies and Procedures Every student who applies to Sheridan receives a Sheridan Access account and cannot proceed with their application unless they enter that Access account number online. The first screen that comes up when they enter that account is a notification requesting that the student read the linked policies. The student has access to all Sheridan policies and procedures from this page.

The student is asked to check off the box that indicates they have read, understand and agree to abide by Sheridan’s policies. If they do not check off that box, the notification page appears every time they log on to that account and will not disappear until they have checked the box. Given this account is the student’s access to check grades, view their timetable, and work with many course materials, they cannot avoid the policy notification. The student is also reminded on the screen that, if they do not check off the box, they are still bound by Sheridan’s policies.

12.3 Resolution of Students’ Academic Appeals, Complaints, Grievances, and/or Other Disputes See electronic policy file for Sheridan’s policy and procedure regarding academic appeals and consideration.

12.4 Student Dismissal See electronic policy file for Sheridan’s policy and procedure regarding student code of conduct.

Honours Bachelor of Producing for the Creative Industries | 128

12.5 Current Academic Calendar https://www.sheridancollege.ca/academics/programs-and-courses.aspx

Honours Bachelor of Producing for the Creative Industries | 129 Section 13: Optional Material

13.1 Proposed Program Map:

Honours Bachelor of Producing for the Creative Industries | 130

Honours Bachelor of Producing for the Creative Industries | 131 Honours Bachelor of Producing for the Creative Industries | 131 13.2 Foundational Skills Summaries and Matrix Well-developed foundational or soft skills are essential for success in the creative industries. A producer must communicate effectively; must be a team player as well as a leader of production teams; must have organizational and planning skills; must be a critical thinker; and must be skilled at research. These skills are scaffolded throughout the curriculum as shown on the Foundational Skills Matrix in section 3.8 and in the summaries below.

Foundational Skills Summary 1 – Communication Communication was identified by the Ad Hoc PAC (meeting minutes October 2015) as the number one foundational or soft skill required for success as a producer. Verbal, written, and visual language skills are required, as well the ability to network, negotiate, and communicate effectively across a variety of international cultures and demographics, in both business and creative environments.

The program has integrated opportunities for communication skill-building throughout the four years. In Year 1, students practise verbal, written, and visual communication in their assignments; learn professional vocabularies; learn about people management; and engage in an introduction to pitching, the premier communication skill of producers. In Year 2, students develop a communications/marketing plan, and practise role-playing in a variety of producing roles, including negotiation and labour relations.

In Year 3, students learn concepts of leadership and entrepreneurship, and continue to build their negotiation and critiquing skills. They prepare pitch materials, including business documents, communications plans, and sizzle reels in support of their internship applications.

In Year 4, students practise professional-level communication skills in written, verbal, and visual forms, as applied to their capstone projects, portfolio development, feedback sessions, pitch meetings, and the Year 4 Pitch Fest.

Foundational Skills Summary 2 – Teamwork Teamwork is integral to many production roles in the creative industries, particularly at the entry levels where recent graduates may get their start. Students learn the roles and responsibilities of production and creative team membership and how to effectively participate on and manage production teams within the parameters of law, contractual agreements, and industry practices.

In Year 1, students learn the structure of a business organization, team-management principles, and the roles/teams that comprise the different creative industries. They practise teamwork in group activities and exercises. In Year 2, they carry out group research projects, and practise role-playing based on case studies and given scenarios.

Honours Bachelor of Producing for the Creative Industries | 131

In Year 3, students learn and apply principles of team leadership as they learn all stages of creative-industry pipelines, and work in teams to develop proposals, production documents, and sizzle reels. During their internship summer, each student takes on a role in a professional production team or department. In Year 4, students practise teamwork and team management with their peers, working collaboratively as they direct the development of their capstone projects and perform team-member roles in their classmates’ projects.

Foundational Skills Summary 3 – Organization and Planning Organization and planning involves time management, definition of goals, detailed knowledge, assessment of results, ability to prioritize, and flexibility in the face of change. Closely related to critical thinking and research, these in-demand skills are interlinked throughout students’ four years in the program.

In Year 1, students examine management responsibilities in planning, organizing, and change management. They gain hands-on experience in the creative processes of each creative industry (CI) and discuss the logistical roles of a producer throughout the production pipeline. In Year 2, students examine the full spectrum of team and leadership production roles in the creative industries. They learn to consider all factors involved in production development, including research, analytics, timelines, financing, budgets, legal aspects, and marketing.

In Year 3, students focus on strategizing, entrepreneurship, leadership, and self- development planning. Working within a full industry-pipeline model, they prepare a production plan and sizzle reel encompassing all aspects of production. In their internships, students test and expand their learning within the processes and dynamics of a professional production. In Year 4, students investigate the organizational and planning challenges of emerging trends in the creative industries. They practise professional level skills in developing their capstone production portfolios, including teamwork with peers and/or students in other programs.

Foundational Skills Summary 4 – Critical Thinking A producer must constantly assess and navigate a variety of dynamic situations, synthesizing all available evidence to make critical decisions that affect people and plans. Opportunities to progressively strengthen this skill are built into virtually every course in the program.

In Year 1, students identify, differentiate, explain, and discuss issues such as producing roles, business effectiveness, ability to innovate, and the ways in which storytelling and creative techniques are used to engage audiences. In Year 2, students discuss increasingly complex aspects of producers’ roles, including team development. They learn to analyze market data to support critical marketing decisions; ethically assess problems in entertainment law and contract negotiation; and compare cost factors within specific budget and timeline parameters.

Honours Bachelor of Producing for the Creative Industries | 132

In Year 3, students learn to assess feasibility, perform SWOT analyses, and solve problems in production scenarios. They study entrepreneurship and develop strategic career plans. They develop production plans and sizzle reels suitable for pitching to a professional industry body. In Year 4, students approach a professional level of decision-making responsibility as they develop their capstone portfolio projects, demonstrating a variety of skills and abilities of a producer. They work more independently in planning and scheduling, responding to feedback, and self- assessment.

Foundational Skills Summary 5 -- Research Research skills are fundamental to the work of a producer: from marketing and demographic research that establishes and builds audiences, to targeting potential partners and funding sources; from testing the viability of concepts and properties through a variety of feedback-gathering methods, to planning the future viability of productions. The program addresses this essential industry requirement with progressive development of research skills throughout the four years.

In Year 1, students are introduced to primary and secondary research in the contexts of storytelling and visualization, structuring effective arguments in essays and verbal presentations, and introductory production planning. In Year 2, they focus on formulating research questions; evaluating research methodologies; carrying out audience-development research; interpreting data; applying marketing analytics to production planning, and research ethics.

In Year 3, students put their research skills into guided practice as they develop production bibles and sizzle reels in preparation for their internship placements. During their internships, students research industry-related questions to report on when they return to Year 4. In Year 4, students incorporate research best practices in developing their capstone projects, including test screenings, play testing, and/or limited workshops, as well as investigating emerging trends in industry and financing sources.

Honours Bachelor of Producing for the Creative Industries | 133

13.2.1 Foundational Skills Matrix Note. X indicates that the Foundational Skill is part of the Learning Outcome of the course. (For Critical Thinking: the exact phrase ‘critical thinking’ does not necessarily appear verbatim in the LO’s, so the X’s refer to aspects of critical thinking such as assessments, judgment, navigation of dynamic situations, decision-making based on evidence, etc.) Organization Critical Communication Teamwork Research & Planning Thinking Year 1, Semester 1 Fundamentals of X X Business Design Thinking for the X X X X Creative Industries Exploration in the Creative Industries 1: X X X History Storytelling 1: X X X Structure Professional Primer 1: X X X X Animation and Theatre Mandatory Breadth: Composition & X X X Rhetoric Year 1, Semester 2

Production Budgeting X X X X Team & People X X X Management Exploration in the Creative Industries 2: X X X Roles Storytelling 2: Story X X X Development Professional Primer 2: Game Dev, X X X Film/TV/Digital Media Year 2, Semester 3 Marketing & Audience X X X X Development Financing Sources for X X X the Creative Industries

Honours Bachelor of Producing for the Creative Industries | 134

Organization Critical Communication Teamwork Research & Planning Thinking Professional Practice in Film/TV/Digital X X X X Media Professional Practice X X X X X in Game Development Year 2, Semester 4 Research & Analytics X X X X X Entertainment Law & X X Ethics Professional Practice X X X X in Animation Professional Practice X X X in Theatre Year 3, Semester 5 Leadership in the X X X X Creative Industries Financial Planning for X X X the Creative Industries Production Planning in Film/TV/Digital Media X X X X 1 Production Planning in X X X X Animation 1 Production Planning in X X X X X Theatre 1 Production Planning in X X X X X Game Development 1 Year 3, Semester 6 Entrepreneurship in X X X X the Creative Industries Creative Industries X X X X Strategic Concepts Production Planning in Film/TV/Digital Media X X X X 2 Production Planning in X X X X Animation 2 Production Planning in X X X X Theatre 2

Honours Bachelor of Producing for the Creative Industries | 135

Organization Critical Communication Teamwork Research & Planning Thinking Production Planning in X X X X Game Development 2 Year 4, Semester 7 Emerging Trends in the Creative Industries X X X X X 1 Senior Development X X X X X Project Year 4, Semester 8 Emerging Trends in the Creative Industries X X X X X 2 Production Capstone X X X X X

Honours Bachelor of Producing for the Creative Industries | 136

13.3 Environmental Scan

Sheridan College Creative Industries Bachelor’s Degree Program Feasibility Study Summary Report

April 2015

PREPARED BY:

Academica Group Inc. London, ON

Table of Contents Introduction ...... 3 ! Method ...... 3 ! Secondary Research ...... 3 ! Industry Representative Interviews ...... 4 ! Prospective Student Survey ...... 4 ! Industry and Labour Market Trends ...... 5 ! Employment Outlook ...... 9 ! Student Interest ...... 15 ! Employer Interest ...... 17 ! Comparative Analysis ...... 18 Pathway Opportunities ...... 20 ! Pathways In ...... 20 ! Pathways Out ...... 20 References ...... 22 ! Appendix 1: List of Industry Interview Participants ...... 23 ! Appendix 2: Program Description ...... 24 !

Introduction Academica Group conducted this study on behalf of Sheridan to assist the institution in assessing the feasibility of a proposed bachelor’s degree program in the creative industries. The research had four primary objectives:

• Provide an overview of industry and labour market trends, opportunities, and employment prospects for potential graduates of the proposed program • Measure levels of interest in pursuing Sheridan’s proposed program in the creative industries among prospective students • Assess employer interest in and support for the proposed program • Understand the competitive environment in which Sheridan is considering the development of the new program, including college and university offerings, and explore pathway opportunities.

The research was conducted in three phases. The first phase was an environmental scan that included an industry overview, employment projections, and competitive program review. The second stage involved interviews with industry representatives. Finally, the third stage involved an online survey of prospective students. This report brings together the research from each of the phases, summarizing the key findings. The research findings are organized into six sections: Industry and Labour Market Trends, Employment Outlook, Student Interest, Employer Interest, Comparative Program Analysis, and Pathway Opportunities.

Method

Secondary Research Secondary research was conducted to obtain information on industry and labour market trends, employment outlooks, comparative program offerings, and pathway opportunities.

The industry and labour market trends provide a broad summary of the political, economic, social and technological trends affecting the industries that graduates of the proposed program would enter. Secondary research related to trends was obtained from government, industry association, and sector council reports, as well as general labour market studies.

For employment outlooks, several occupations were selected to explore as potential career pathways and both Canadian and US labour market information was consulted. Labour market information for each occupation is provided for Ontario, the Greater Toronto Area (GTA), and the United States (US). Unfortunately, national Canadian labour market projections are only available at the 3-digit NOC code level, meaning that the projections are for a wide range of occupations rather than the specific occupation of interest. Therefore, national projections are not provided. Provincial labour market projections were based on economic models developed by the Centre for Spatial Economics. These projections extend to 2022, and were developed for 520 occupations identified by 4-digit NOC codes.

US labour market projections are taken from the Bureau of Labor Statistics (BLS). BLS projections are developed for the Standard Occupational Classification (SOC) system, in which all workers are classified into one of 840 detailed occupations according to their occupational definition. Projections are available to 2022.

The analysis of comparative programs and pathway opportunities sought to better understand the landscape in which Sheridan is considering developing its creative industries programs. The focus was on comparable programs in Ontario, and the information presented is based on data gathered from publicly available sources, including the Association of Universities and Colleges of Canada website and individual institutions’ websites.

Industry Representative Interviews Primary data on industry and employment trends as well as employer interest in the proposed program was obtained by conducting key informant interviews with industry representatives. A list of potential interviewees was created based on web searches and contacts provided by Sheridan. The regional focus was on the GTA. In total, ten individuals agreed to be interviewed.

The interviews were conducted between April 24, 2014 and May 23, 2014 and were each approximately 30 minutes in length. Prior to each interview, the industry representative was sent a description of the proposed program for review. A list of the organizations that participated in the interviews is located in Appendix 1.

Prospective Student Survey To obtain prospective students’ views of the proposed programs, an online survey was conducted. The survey was sent to Academica Group’s StudentVu panel members who had applied to creative programs such as Fine Arts, Interior Design, Graphic Design, Fashion, Music, Theatre, and Performing Arts within the last three years. The survey was in-field from September 10 to September 24, 2014 and received a total of 85 completes.

Industry and Labour Market Trends

The creative industries involve the development, production and marketing of various arts and cultural products and services. Creative industries are unique in that they contribute to both the economy and to broader cultural development that can enhance communities and quality of life. These industries include film and television, fine and performing arts, digital media development, music, and publishing. Ontario is the third-largest entertainment and creative industry in North America by employment, following California and New York. Over the last decade, the creative industries have seen significant employment growth, outpacing overall provincial growth. Ontario’s creative industries generate $12.2 billion in GDP annually, which is larger than the energy industry, and larger than the agriculture, forestry, and mining industries combined (Ministry of Tourism and Culture, 2010).

The creative industries receive support from numerous levels of government. Provincially, the Ontario government supports a number of initiatives and programs administered by the Ontario Media Development Corporation (OMDC). These include business initiatives to foster collaboration, innovation, and networking; content and marketing fund; industry development programs; and the OMDC Export Funds. OMDC also undertakes activities to promote Ontario’s creative industries in both domestic and foreign markets and to attract inbound investment. In addition to provincial investments, the federal government also offers a number of grants and programs for creative organizations. Locally, Toronto has identified the creative industries as a priority sector due to the large number of creative and cultural outlets in and around the city as well as the sector’s positive contribution to the city’s economy (Toronto Workforce Innovation Group, 2012). The creative cluster employs over 150,000 people in Toronto, and has experienced significant growth in recent years (Toronto Artscape Inc., 2011).

There are a number of trends affecting the creative industries in Canada that are relevant to the creation of the proposed program. These trends, identified in the secondary research and industry consultations, include:

• Challenges in gaining and maintaining capital in the sector and the related need for business skills • Need for new revenue generation models • Skills gap created by aging workforce • Digital technology advancements • Globalization

While the creative industries are growing in Canada and in Ontario, organizations in the sector still face a number of challenges. The first challenge is the struggle to obtain and maintain capital to fund projects, largely due to the sector’s inherent high risk investment characteristics, demand uncertainty, and lack of business and management skills among those working in the sector (Nordicity, 2010; Greffe, 2006). Industry representatives cited this challenge as well, noting that a key factor is the lack of individuals working in the creative industries in Canada who have an understanding of the industry as a whole, from performance, to technical, to business aspects. Interviewees felt that this overarching

understanding of the industry is vitally important, and many noted that they struggle to find individuals with strong business knowledge.

• Throughout most of the creative sector we have had some specific comments about recent graduates having a lot of creative talents and a lot of technical skills, but they really don't understand the business end of the equation, and that is a concern for the industry. – Industry Representative

• There's marketing. There is the financial aspect that people need. There is certainly understanding the industry and where the industry can grow. Most producers come to it for the first time and they come to it from their own perspective of being a performer, and they don’t necessarily have an overview of basically how the ecology- the financial ecology of the industry works. – Industry Representative

Business and management intelligence are seen as “key to survival” in the creative industries, and producers will increasingly need to become entrepreneurs in order to succeed (Toronto Artscape Inc., 2011). The need for business skills is said to exist for both entry-level and senior workers in the sector (PwC and Nordicty, 2011). Securing financing has been identified across a number of Cultural Human Resource Council (CHRC) studies as an area in which the greatest skills gap occurs, particularly in relation to moving beyond basic public funding models and understanding newer models such as international partnerships and co-producing (Birdsell, 2008; Kisquared, 2009). Industry representatives stated that there needs to be greater innovation related to revenue generation. With the economic decline several years ago, both government and the general public have been less likely to invest in arts and culture, requiring new models for raising funds in the sector.

• There's a real need to diversify revenue streams. I don't think we're particularly innovative about how we approach that element, which are still the standard individual donations, foundations and sponsorships. I think we really have to look at innovative new models for revenue generation. – Industry Representative

• The next generation of producers has to really think entrepreneurially about how they're going to produce their work, whether it's crowd funding, whether it's profit share. They're starting to operate outside the models. – Industry Representative

• Really needing people who are able to have big ideas and think of how it can be done and access people who are willing to support that financially… That's why you need producers who can actually be savvy about creating new revenue models. – Industry Representative

• I think also the need for business skills, entrepreneurship and how to run a business and how to do all the other non-artistic elements of the business including getting investment, and not just government funding, but finding new sources of funds to make the business successful and make the products marketable and commercially successful as well. – Industry Representative

Another challenge is the predicted shift in leadership as the working population ages, leaving a significant skills gap. Industry representatives felt that new graduates entering the industry should be equipped with leadership skills. As those in leadership positions begin to leave the sector there will be room for change, and new leaders with management skills will be needed.

• I think the big thing that everybody is aware of is that we're on the verge of major leadership transition in the sector. There's a lot of the Baby Boom generation has been really running those institutions for 30 to 40 years, and a lot of them are on the verge of retirement so there's real question about who is going to lead the sector going forward. – Industry Representative

• I think one of the biggest things obviously is leadership transition. Sort of combined with that is the transition from boomers to X and Y and millennials… I think that it has a significant impact in terms of first of all the number of people that are out there to replace the workforce and arts administration. – Industry Representative

• We've been struggling with it. How do you take the people who are strong employees and who know their sector and develop them more into ... give them the management skills they need, make sure that they have the strategic planning and the financial literacy and the critical thinking, I think those pieces are something that could be developed more within the sector. – Industry Representative

The fourth trend impacting the sector is that advancements in digital technologies are having widespread effects on both production and distribution in creative industries. The use of digital technologies to enhance the experience of productions and to access larger audiences in distribution are both areas that need to be understood by producers. Leveraging digital technologies will be imperative moving forward in the sector, underscoring the importance of educating students about their use and impact.

• Definitely digital change has impacted all the industries, production methods and distribution have really had an impact, probably the most pervasive one… I would say anything in the digital area would be a growth area. – Industry Representative

• Performing arts has certainly evolved… towards a certain kind of mixed media. Technically there’s a wider use of image projection, the idea of creative sound scape… Whether they are motion picture, whether there's video, whether there's projections, whether there's interactions between performance and those projections. – Industry Representative

• The evolution of digital technology has changed things enormously. It has changed things both in the way theater is able to re-imagine itself as an entertainment, and also as competition for the entertainment dollar. – Industry Representative

• Obviously the whole digital world is having major implications in the way the content is distributed. So I think a lot of the ways, models, and structures that we've been operating under for a long time need to be updated. – Industry Representative

Globalization is impacting the sector as well: competition has increased and the market has expanded. While this is also an opportunity for Canadian creative firms, the challenge of accessing financing hinders the ability of firms to capitalize on the opportunity. This is particularly true for firms who develop, produce and distribute digital media content, as online distribution has expanded the size of the market dramatically (Duopoly, 2013). A few industry representatives mentioned the need for Canada to create and market commercially successful products beyond our own borders in order to maintain a successful Canadian arts and cultural sector. The focus on producing marketable products was a concern, leading interviewees to stress the importance of understanding the industry as a whole and understanding how to be commercially profitable.

• I think globalization also is part of that. It's another trend I would say. We're becoming less isolated I think culturally in Canada and looking for ways to expand our markets and be successful and distribute products and become part of the global distribution system rather than just a Canadian one, so that’s becoming an important part. Being globally competitive, competing with everyone around the world is part of that as well… there's been more of a focus on making the industries productive and competitive globally rather than just simply supporting the industries in Canada. – Industry Representative

Each of these trends is requiring new skills of workers in order to support the continued growth and vitality of the creative industries.

Employment Outlook Within the National Occupational Classification (NOC) system, occupations within the creative sector fall primarily under the broad category of “Occupations in art, culture, recreation and sport”. This broad category includes professional occupations and technical occupations. For this report, we have focused on both professional and technical occupations, and also included managers within the art, culture, recreation and sport sectors.

Eight occupations were selected to include as potential career pathways for graduates of the proposed program. The occupational categories included here are:

• Managers – publishing, motion pictures, broadcasting and performing arts • Producers, directors, choreographers • Film and video camera operators • Graphic arts technicians • Broadcast technicians • Audio and video recording technicians • Other technical and coordinating occupations in motion pictures, broadcasting and the ! performing arts ! • Support occupations in motion pictures, broadcasting and the performing arts

Tables 1 and 2 provide a provincial and regional summary showing average annual data over the projection period (2014-2022) for four key labour market indicators: job openings as a percentage of the labour force, employment growth rate, employment size, and the unemployment rate. These charts also provide labour market indicator ratings based on each occupation’s position on the labour market indicator relative to all occupations within the geographic area. The rating scale is based on quintiles:

− Bottom (lowest 20% of occupations) = Poor − Second (20%-40%) = Below Average − Third (40%-60%) = Average − Fourth (60%-80%) = Above Average − Fifth (80%-100%)=Excellent

As shown in these summary tables, the eight occupations explored are expected to have mostly positive employment prospects over the projection period both in the GTA and in the province as a whole.

Table 1: Ontario Occupational Employment Outlooks Average Annual Rating (2014-2022) Managers: Publishing, Job Openings/Labour Force 5.02% Excellent motion pictures, Employment Growth 1.38% Excellent broadcasting and performing arts Employment Size 5626 Average (NOC 0512) Unemployment Rate 4.48% Excellent Job Openings/Labour Force 3.35% Above Average Producers, directors, Employment Growth 1.63% Excellent choreographers (NOC 5131) Employment Size 11455 Above Average Unemployment Rate 7.27% Average Job Openings/Labour Force 3.11% Average Film and video camera Employment Growth 1.48% Excellent operators (NOC 5222) Employment Size 2186 Below Average Unemployment Rate 7.14% Average Job Openings/Labour Force 2.86% Below average Graphic arts technicians Employment Growth 0.85% Average (NOC 5223) Employment Size 1164 Poor Unemployment Rate 7.12% Average Job Openings/Labour Force 3.29% Above Average Broadcast technicians Employment Growth 1.48% Excellent (NOC 5224) Employment Size 1563 Below Average Unemployment Rate 7.22% Average Job Openings/Labour Force 3.07% Average Audio and video recording Employment Growth 1.49% Excellent technicians (NOC 5225) Employment Size 5071 Average Unemployment Rate 7.23% Average Other technical and Job Openings/Labour Force 3.21% Average coordinating occupations in motion pictures, Employment Growth 1.61% Excellent broadcasting and the Employment Size 3632 Below Average performing arts (NOC 5226) Unemployment Rate 7.24% Average Support occupations in Job Openings/Labour Force 3.04% Average motion pictures, broadcasting and the Employment Growth 1.48% Excellent performing arts Employment Size 3245 Below Average (NOC 5227) Unemployment Rate 7.13% Average

Table 2: Greater Toronto Area Occupational Employment Outlooks Average Annual Rating (2014-2022) Managers: Publishing, Job Openings/Labour Force 5.24% Excellent motion pictures, Employment Growth 1.78% Excellent broadcasting and performing arts Employment Size 3750 Above Average (NOC 0512) Unemployment Rate 4.77% Excellent Job Openings/Labour Force 3.65% Average Producers, directors, Employment Growth 2.00% Excellent choreographers (NOC 5131) Employment Size 8850 Above Average Unemployment Rate 7.46% Average Job Openings/Labour Force 3.72% Above Average Film and video camera Employment Growth 2.08% Excellent operators (NOC 5222) Employment Size 1398 Below average Unemployment Rate 7.45% Average Job Openings/Labour Force 2.94% Poor Graphic arts technicians Employment Growth 1.24% Below average (NOC 5223) Employment Size 646 Below average Unemployment Rate 7.55% Average Job Openings/Labour Force 3.72% Above Average Broadcast technicians Employment Growth 1.98% Excellent (NOC 5224) Employment Size 1073 Below average Unemployment Rate 7.47% Average Job Openings/Labour Force 3.42% Average Audio and video recording Employment Growth 1.93% Excellent technicians (NOC 5225) Employment Size 3632 Above Average Unemployment Rate 7.47% Average Other technical and Job Openings/Labour Force 3.44% Average coordinating occupations in motion pictures, Employment Growth 1.82% Excellent broadcasting and the Employment Size 2791 Average performing arts (NOC 5226) Unemployment Rate 7.48% Average Support occupations in Job Openings/Labour Force 3.36% Average motion pictures, broadcasting and the Employment Growth 1.89% Excellent performing arts Employment Size 2114 Average (NOC 5227) Unemployment Rate 7.47% Average

Managers in art, culture, recreation and sport In Ontario and the GTA, managers in art, culture, recreation and sport are expected to experience excellent job openings, employment growth and unemployment rates. New job openings in the GTA are expected to come from replacement demand with expansion demand only a minor source of demand. The primary source of labour supply will be mobility.

The median hourly wage in Ontario is $38.41 per hour and the educational requirement is a usually a university degree in a relevant field as well as several years of experience in the sector.

There is no equivalent occupation listed in the US BLS Handbook.

Producers, directors, choreographers This occupational group is expected to experience above average job openings in Ontario between 2014 and 2022. Employment growth is expected to be excellent, with an average unemployment rate. In the GTA, job openings and the unemployment rate are expected to be average, with excellent employment growth. New job openings are expected to come primarily from replacement demand with expansion contributing to a smaller proportion of demand. The main source of labour supply is expected to be new entrants and in-mobility.

The median hourly wage in Ontario is $28.77 per hour and the educational requirement for producers, directors and film editors is a university degree or college diploma in the performing arts, broadcasting, journalism, business administration, theatre production or film studies and experience in a technical position in the sector.

Producers and directors in the US are expected to experience slower than average growth (3%) between 2012 and 2022. The median hourly wage is $38.31 and the educational requirement is a bachelor’s degree.

Film and video camera operators Film and video camera operators are expected to experience average job openings and unemployment rates, with excellent employment growth in Ontario between 2014 and 2022. In the GTA, these trends are similar with above average number of job openings. New job openings are expected to come from both expansion and replacement demand. The main source of labour supply is expected to be new entrants, with in-migration a minor source of supply as well.

The median hourly wage in Ontario is $28.80 per hour and the educational requirement is the completion of a college or technical program in broadcasting, audio-visual technology or a related field.

In the US, cumulative growth expected from 2012-2022 is 3% for film and video editors and camera operators, slower than the 11% growth expected for all occupations. The US median hourly wage is $22.25 per hour and the educational requirement is a bachelor’s degree.

Graphic arts technicians The employment projections for graphic art technicians is slightly less positive, as this occupation is expected to experience below average job openings, with average employment growth and unemployment rates in the province. In the GTA, this occupation will see a poor number of job openings, below average employment growth, and average unemployment rates. New job openings in the GTA are expected to come primarily from both replacement and expansion. The primary source of supply will be new entrants, with in-migration playing a minor role in supply.

The median hourly wage in Ontario is $26.25 per hour and the educational requirement is a university degree in visual arts with specialization in graphic design, commercial art, graphic communications or cartooning or completion of a college diploma program in graphic arts is required.

In the US, cumulative growth for multimedia artists and animators from 2012-2022 is expected to be 6%, below the 11% growth expected for all occupations. The US median hourly wage is $29.50 per hour and the educational requirement is a bachelor’s degree.

Broadcast technicians This occupational group is expected to experience above average job openings, excellent employment growth, and average unemployment rate in both Ontario and the GTA between 2014 and 2022. New job openings are expected to come primarily from replacement demand with expansion contributing to a smaller proportion of demand. The main source of labour supply is expected to be new entrants with in-migration contributing to a smaller proportion of supply.

The median hourly wage in Ontario is $24.52 per hour and the educational requirement is the completion of a college program in broadcast technology or electronics is usually required.

In the US, cumulative growth expected for broadcast and sound engineering technicians from 2012- 2022 is 9%, about as fast as the 11% growth expected for all occupations. The US median hourly wage is $19.81 per hour and the educational requirement is usually an associate’s degree.

Audio and video recording technicians In both Ontario and the GTA, audio and video recording technicians are expected to experience average job openings and unemployment rates, with excellent employment growth between 2014 and 2022. New job openings will come primarily from replacement demand, though expansion demand will also be a significant source of change. The primary source of supply will be new entrants, and migration will account for some change over the projection period.

The median hourly wage in Ontario is $25.00 per hour and the educational requirement is the completion of a college or other program in recording engineering, audiovisual technology or a related field.

There is no equivalent occupation listed in the BLS Handbook.

Other technical and coordinating occupations in motion pictures, broadcasting and the performing arts This occupational category includes job titles such as costume designer, make-up artist, special effects technician, etc. In both Ontario and the GTA, this group is expected to experience average job openings and unemployment rate, and excellent employment growth. New job openings will come primarily from replacement demand, though expansion demand will also be a source of change. The primary source of supply will be new entrants.

The median hourly wage in Ontario is $23.91 per hour and the educational requirements vary by position, but for most occupations in the group, completion of a college or university program in broadcasting, theatre arts or a related field is required.

There is no equivalent occupation listed in the BLS Handbook.

Support occupations in motion pictures, broadcasting and the performing arts This occupational category includes job titles such as boom grip, camera crane operator, dresser, lighting assistant, etc. In Ontario, this group is expected to see average job openings and unemployment rates, and excellent employment growth. In the GTA projections are similar but with average employment size. New job openings will come primarily from replacement demand, though expansion demand will also be a source of change. The primary source of supply will be new entrants, and in-migration will account for some change.

The median hourly wage in Ontario is $17.86 per hour and the educational requirement is often college- level courses in broadcasting or theatre arts.

There is no equivalent occupation listed in the BLS Handbook.

Student Interest

Bachelor’s Degree The results of the online prospective student survey showed an average level of interest in the proposed program. Thirty-one percent of respondents indicated they would have been very to extremely interested in the bachelor’s degree program had it been available to them when they were first applying to postsecondary.

FIGURE 1 – Interest in Proposed Program When Applying to PSE (All respondents, n=85) Extremely interested Very interested Moderately interested Slightly interested Not at all interested

9% 21% 25% 28% 16%

Respondents were also asked if they would be interested in the program if it were to be offered in the next three years. Overall interest was slightly lower, however about half (49%) stated they would be at least moderately interested.

FIGURE 2 – Interest in Proposed Program in the next 3 years (All respondents, n=85)

Extremely interested Very interested Moderately interested Slightly interested Not at all interested

4% ! 19% ! 26% ! 21% 31%

Students noted that the most appealing aspect of the program was the combination of business and arts education. Respondents found this to be a unique feature of the program not offered in other fine arts degrees. They felt strongly that this combination would allow graduates to not only have more opportunities for employment, but to also find work more quickly. A number of respondents recognized these skills as essential in the industry and appreciated the opportunity to learn them before entering the workforce. Other appealing aspects included the business component specifically, the in-demand skills being included in the program, and the applied, hands-on approach. Smaller proportions appreciated the art/creative component specifically, the ability to specialize, and the uniqueness of the proposed program.

• That it is combining both the arts and business together that will enable a graduate to find a job faster and give them more job opportunities once they've graduated. – Student Representative

• I like the idea of students learning such important skills from a very unique program. All of these subjects seem like things that are necessary to learn for this sort of job, but that

students can only learn once they are in the job, but now can learn within the school environment. – Student Representative

• By incorporating a strong business component, the program appears as though it will provide students with the tools they need to be successful and independent in the field of production in the arts. Giving the students well-rounded experience in all areas of the visual arts in the first two years will be very beneficial. Moreover, the choice in specialization in the third and fourth year will allow students to come into their own with the types of projects they are interested in. – Student Representative

• To learn about the business side of the creative study one is doing. – Student Representative

• The hands-on approach to learning was very appealing. It means that a student would get real world experience early on. – Student Representative

• The applied nature sounds appealing. – Student Representative

• The applied nature of it and the specialization. It is a unique program that will appeal to a lot of people. Especially considering the alternative is four years of classroom study. – Student Representative

• Practical blend of business and arts, and more options for work upon graduation than a fine arts degree. – Student Representative

• You can choose the exact career you want to focus on in your final two years. – Student Representative

Employer Interest Response from industry representatives was quite positive. Interviewees felt that the proposed programs would meet a definite need in the sector. The primary strengths noted were the combination of arts and business, and the focus on practicalities of producing in the creative sector.

• It's interdisciplinary approach… That it really has taken a 360 degree view and saying you need to have all of these skills and all of this training in order to succeed in this field. – Industry Representative

• I was pretty impressed by the areas of focus that they're looking at. What we've seen is the digital and the business areas are really the two areas that cut across all industries that really need better skills, so I think these programs focus in those areas, so that was definitely good to see. – Industry Representative

• I think it sounds like it addresses gaps the industry. – Industry Representative

One of the key strengths noted by interviewees was that the program focuses on bridging the gap between the artistic/technical side and the business side of the sector. It was stated several times that the program would address a very precise need and the program description referenced the types of skills that employers are seeking. Other strengths included the practical nature and hands-on approach, the breadth of job opportunities for graduates in the sector, and the uniqueness of the program.

• When I got to the end of it I was very pleased with it… it had the emphasis on the business end which I thought was good, and they also need to know the creative side of it. I think it's really important that somebody understands both ends of the business and the creative end in order to be successful. – Industry Representative

• From this program I would say the people that would be involved, the entrepreneurs, would percolate up from this program, I would think. I see this program as one that provides more management education for those interested in the arts. – Industry Representative

• I think there are a lot of areas in businesses that you could apply these skills to, any of the non- creative elements, I think there is probably going to be a demand for people with skills that can manage all the different areas of a business in turning creative output into success. – Industry Representative

• I do think this is unique and it's one of these things there is an obvious need for. The business guy does the business things, and the creative guys do the creative things, and not many people put the two together. – Industry Representative

Comparative Analysis There is currently no other college in Ontario that offers a bachelor’s degree in Producing for the Creative Industries.

Only two Ontario universities offer bachelor programs related to arts management and creative industries, and one offers a complementary program in arts administration (Table 3). The University of Toronto – Scarborough offers a Bachelor of Arts with a Specialist Designation in Arts Management. This program offers courses in Arts Management, Audience and Resource Development, Financial Management for Arts Managers, Arts Marketing, Arts Fundraising, and more all related to leadership and management in the arts and cultural sector. Ryerson University has a new program called Creative Industries that aims to “educate the future leaders of Canada’s creative economy.” The program focuses on entrepreneurial skills in the creative sector, as well as the effects of new technologies on the sector. Business, communication and management skills are also emphasized.

The University of Ottawa offers a complementary Major in Arts Administration to its Bachelor of Arts students. Students must combine this major with an undergraduate program in music, theatre, visual arts history or theory of arts.

Table 3. University Degree Offerings in Ontario Institution Program Title Credential Work -integrated Learning Specializations University of Bachelor of Arts with BA Internship or field placements Toronto Specialist Designation in available. Arts Management Ryerson Bachelor of Arts in BA Summer prior to year four, University Creative Industries students have a work Two creative-content placement within a creative modules as well as a enterprise (minimum of 240 business specialization. hours) University of Major in Arts Work term is required

Ottawa Administration

Looking across Canada, only one other university offers a Bachelor of Arts in Arts Administration (Table 4). The program at Bishop’s University teaches business and financial skills and trains graduates to set up and successfully sustain a non-profit arts organization. It should be noted that for-profit organizations are also discussed, but the focus is on raising capital and managing non-profit arts organizations. Acadia University offers an Arts Administration concentration where students in a Bachelor of Arts in Music are required to take 27 hours of non-music electives from a selection of business courses.

Table 4. Degree Offerings Outside of Ontario Institution Program Title WIL Specializations Bishop's University Bachelor of Arts in Arts Internship is Administration required at the

end of the program Acadia University Bachelor of Arts in Music with concentration in Arts Administration

Overall, the comparative analysis indicates that there are few degree programs focused on arts administration, arts management, and in particular producing for the creative sector, which is the focus of Sheridan’s proposed program. The fact that some arts programs in the country have developed concentrations or majors, however, can be seen as a sign of the growing need for graduates with skills in these areas.

Pathway Opportunities

Pathways In The proposed program could be a pathway for students in any variety of arts, fine arts, and production diploma programs. Based on the three concentrations proposed in the program (theatre, film and digital media), relevant programs might include diplomas or advanced diplomas in animation, broadcasting, performance writing, media design, digital animation/film production, event and media production, film production, graphic design, theatre arts, and visual arts.

Pathways Out For students who wish to continue their education, it will be important that the proposed program is designed such that graduates would be eligible to apply to graduate programs. A directly related graduate program is available at York University, called the MBA in Arts and Media Administration. Graduates from the proposed program, however, would also be eligible to apply for Master’s level programs in areas such as media studies, fine arts, digital and new media, communications, film studies, and more.

Due to the lack of graduate programs in Canada that are directly comparable, we looked to the United States for additional opportunities. Table 5 lists relevant graduate programs in Arts Administration across the United States.

Table 5. United States Graduate Programs in Arts Administration Location Institution Name Academic degree Akron University of Akron Arts Administration Master of Arts (MA) Baltimore Goucher College Arts Administration Master of Arts (MA) Blacksburg Virginia Tech University Arts Administration Master of Fine Arts (MFA) Bloomington Indiana University Arts Administration Master of Arts (MA) Boston Boston University, Metropolitan College Arts Administration Master of Science (MSc) Buffalo, NY University at Buffalo Arts Management Master of Arts (MA) Cedar City Southern Utah University Arts Administration Master of Fine Arts (MFA) Arts, Entertainment and Chicago Columbia College Media Management Master of Arts (MA) Arts Administration and Chicago The School of the Art Institute Policy Master of Arts (MA) Arts Management and Executive Arts Claremont , CA Claremont Graduate University Management Master of Arts (MA) Arts Policy and Columbus Ohio State University Administration Master of Arts (MA), PhD Southern Methodist University, The Master of Arts (MA), Master of Business Dallas, TX Meadows School of the Arts Division Arts Administration Administration (MBA) Eugene OR University of Oregon Arts and Administration Master of Arts (MA) Arts Management Internship Diploma 2008- Fairfax, VA George Mason University 09 Master of Arts (MA) University of Kentucky Arts Lexington University of Kentucky Administration Program Master of Arts (MA)

Lubbock, TX Texas Tech University Theatre Management Master of Fine Arts (MFA) Madison, WI University of Wisconsin, Bolz Center Arts Administration MBA Montclair State University, School of MA in Theatre with a concentration in Montclair, NJ the Arts Arts Management Arts Management Theatre Management and Master of Arts (MA) Master of Business New Haven, CT University of Yale, Yale School of Drama Producing Administration (MBA) New Orleans, LA University of New Orleans Arts Administration Master of Arts (MA) New York City Columbia University Teachers College Arts Administration Master of Arts (MA) City University of New York , Brooklyn Performing Arts New York City College Management Master of Fine Arts (MFA) New York City, NY New York University Visual Arts Administration Master of Arts (MA) New York City, Arts and Cultural Master of Professional Studies (MPS) in NY Pratt Institute Management Program Arts and Cultural Management Philadelphia, PA Drexel University Arts Administration Master of Science (MAS) Pittsburgh, PA Carnegie Mellon University Arts Management Master San Francisco, CA San Francisco State University Museum Studies Master of Arts (MA) Savannah, GA Savannah College of Art and Design Arts Administration Master of Arts (MA) Syracuse NY Syracuse University Arts Leadership Program Tallahassee, FL Florida State University Arts Administration Master of Arts (MA) Tallahassee, FL Florida State University Theatre Management Master of Fine Arts (MFA) Tuscaloosa, AL University of Alabama Theatre Management Master of Fine Arts (MFA) Washington, DC The American University Arts Management Master of Arts (MA) Arts Management and Arts Winchester, VA Shenandoah University Administration Master of Science (MS) Ypsilanti, MI Eastern Michigan University Arts Management MA in Arts Administration Source: International Network for Arts and Business (http://artsmanagement.net/index.php?module=Education&func=view)

References

Birdsell, A. (2008). Training Gaps Analysis: Film and Television Producers. Ottawa: Cultural Human Resources Council. Retrieved: http://www.culturalhrc.ca/research/CHRC_Producers_TGA-en.pdf

Duopoly, Inc. (2013). Discoverability: Strategies for Canada’s digital content producers in a global online marketplace. Toronto: Ontario Media Development Corporation. Retrieved: http://www.cmpa.ca/sites/default/files/documents/industry- information/studies/CMPA%20DISCOVERABILITY%20STUDY.pdf

Greffe, X. (2006). Managing creative enterprises. Switzerland: World Intellectual Property Organization. Retrieved: http://www.wipo.int/export/sites/www/freepublications/en/copyright/938/wipo_pub_938.pdf

Kisquared. 2009. Interactive Media Producers – Training Gaps Analysis. Ottawa: Cultural Human Resources Council. Retrieved: http://www.culturalhrc.ca/research/CHRC_Interactive-Media-Producers_TGA-en.pdf.

Ministry of Tourism and Culture. (2010). Ontario’s Entertainment and Creative Cluster: A Framework for Growth. Toronto: Queen’s Printer for Ontario.

Nordicity Group Ltd. (2010). Directions in new financing for the cultural media industries. Toronto: Nordicity Group Ltd. Retrieved: http://www.omdc.on.ca/Assets/Research/Research+Reports/Directions+in+New+Financing/Directions+in+Ne w+Financing+for+the+Cultural+Media+Industries.pdf.pdf

PwC and Nordicity. 2011. Digital Transformation of Creative Media Industries: Opportunities for Success and Challenges. Toronto: Ontario Media Development Corporation.

Toronto Artscape Inc. (2011). Advancing Toronto’s Centre for Creative Sector Entrepreneurship. Toronto: Toronto Artscape Inc. Retrieved: http://torontoartscape.org/sites/default/files/KE_CCSE_Report_FINAL_0.pdf

Appendix 1: List of Industry Interview Participants Organization Position

Mirvish Productions Director, Labour Relations and Human Resources Theatre Ontario Executive Director International Society for the Performing Arts CEO National Alliance for Musical Theatre Executive Director The Elgin and Winter Garden Theatre Centre General Manager City of Toronto Acting Director, Strategic Growth & Sector Development; Manager, Economic and Cultural Policy; Acting Film Commissioner Town of Oakville Senior Manager, Cultural Services, Recreation and Culture Oakville Centre for Performing Arts Theatre Manager Soundstreams Canada Executive Director Ontario Ministry of Tourism, Culture & Sport Senior Economic Policy Advisor

Appendix 2: Program Description

An interdisciplinary baccalaureate program will leverage the combined curriculum and resources of the Faculty of Business and the Faculty of Animation, Arts and Design

The purpose of the program would be to develop business acumen and financial and management expertise for applicants who have demonstrated introductory knowledge in the creative industries and who aspire to work in the creative, media and live entertainment sectors. The program will provide students with exposure and expertise in areas within the creative industries and business such as: strategic management, financial literacy, entrepreneurship, leadership and change management, rights and regulations, raising capital for arts and creative industry projects, marketing, managing creative individuals and teams, the supervision of the development of new works, creative talent management and communication.

One of the unique aspects of this program will be in its applied nature. Students will share foundational business and arts curriculum in the first two years of the program. For the final two years, students will select their chosen area of concentration within the creative industries: theatre, film, digital media. Students will work with the arts programs to take on the producer role for actual productions under way at Sheridan—partnering in the theatre, film and digital media programs.

This program would train graduates who would be in a position to create new value for the Cultural Media Industries in Canada. Such a unique program would build on Sheridan’s proven strengths and contribute to the growth and entrepreneurialism of the Canadian media and live entertainment industry.

Section 14: Policies

The policies on file with PEQAB are current.

Honours Bachelor of Producing for the Creative Industries | 161

References

Academica Group, Inc. (2015). Creative industries bachelor's degree program feasibility study: Summary report. Sheridan College. London, ON: Academica Group, Inc. Association of Arts Administration Educators. (2012). Standards for arts administration, graduate grogram curricula: A living document. Retrieved from www.artsadministration.org Birdsell, A. L. (2008). Training gaps analysis: Producers film and television. Retrieved February 28, 2018, from Cultural Human Resources Council: https://www.culturalhrc.ca/research/CHRC_Producers_TGA-en.pdf Brown, T. (2009). Change by Design: How design thinking transforms organizations and inspires innovation. New York: Harper Collins. Cameron, P. (2017, February 27). Toronto film, TV and digital industry hit $2-billion in 2016, Tory says. The Globe and Mail. Retrieved February 22, 2018, from The Globe and Mail: https://beta.theglobeandmail.com/arts/film/toronto-film-tv-and-digital-industry-hit-2-billion- in-2016-tory-says/article34145347/?ref=http://www.theglobeandmail.com& Canada, G. o. (2016). Budget 2016. Canadian Council on Learning. (2009). The impact of experiential learning programs on student success. Ottawa, ON: Canadian Council on Learning. Canadian Heritage, Government of Canada. (2017, September 28). Launch of netflix Canada: a recognition of Canada’s creative talent and its strong track record in creating films and television [news release]. Retrieved January 31, 2018, from Government of Canada: https://www.canada.ca/en/canadian-heritage/news/2017/09/launch_of_netflixcanada arecognitionofcanadascreativetalentandits.html Canadian Index of Wellbeing. (2016). Canadian Index of wellbeing: Liesure and Culture. Retrieved from Canadian Index of Wellbeing: https://uwaterloo.ca/canadian-index- wellbeing/reports/2016-canadian-index-wellbeing-national-report/leisure-and-culture Canadian Media Producers Association. (2018, February 01). Canada’s screen content production sector continues to drive impressive economic growth. Retrieved February 01, 2018, from Canadian Media Producers Association: http://cmpa.ca/news- events/news-releases/canada’s-screen-content-production-sector-continues-drive- impressive-econo Communications MDR. (2016, April). Environmental scan of the culture sector: Ontario culture strategy background document. Retrieved February 21, 2018, from Sector Profile: cultural industries: https://files.ontario.ca/books/mtcs_environmental_scan_of_the_culture_sector_en_0.pdf Connor, M. (2017). Community-connected experiential learning call for proposals for projects 2017-18. Retrieved February 23, 2018, from Ontario Ministry of Education: http://www.edu.gov.on.ca/eng/policyfunding/memos/dec2017/community_connected_pro jects.html Cultural Human Resources Council. (2016). What is the CHRC? Retrieved from Cultural Human Resources Council: https://www.culturalhrc.ca/aboutus/index-e.php Florida, R. (2009, February 5). Insight: Why invest in design? Insights from industry leaders. Retrieved February 22, 2018, from Martin Prosperity Insititute: http://martinprosperity.org/content/ontario-in-the-creative-age/ Franczak, T. (2017, January 8). 2017 Top 100 international animation schools. Retrieved February 1, 2018, from Animation Career Review: https://www.animationcareerreview.com/articles/2017-top-100-international-animation- schools?page=3 Government of Canada. (2016, March 22). Chapter 5 - An inclusive and fair Canada. Retrieved

Honours Bachelor of Producing for the Creative Industries | 162

January 31, 2018, from Budget 2016: Growing the middle class: http://www.budget.gc.ca/2016/docs/plan/ch5-en.html Grant, G. (2005). ReVisioning the way we work. Bloomington: Trafford Publishers. HLLR. (2018). Direct Borrower's Agreement. Retrieved from sheridancollege.ca: https://www.sheridancollege.ca/life-at-sheridan/student-services/library- services/policies/direct-borrower-agreement.aspx Logan, J. (2015). Environmental scan: Music theatre performance. unpublished report, Centre for Teaching and Learning, Sheridan College, Oakville, ON. Lowenbe Holdings Ltd. (2018, April 18). Training gaps analysis: Below-the-line film & television workers. Retrieved February 28, 2018, from Cultural Human Resources Council: https://www.culturalhrc.ca/research/CHRC_Below_the_line_TGA-en.pdf Milligan, M. (n.d.). ACR 2017 Animation school rankings released. Retrieved January 31, 2018, from Animation Magazine: http://www.animationmagazine.net/schools/acr-2017- animation-school-rankings-released/ Ministry of Tourism, Culture and Sport. (2016). The Ontario culture strategy: Telling our stories, growing our economy. Retrieved January 31, 2018, from Ontario.ca: https://www.ontario.ca/page/ontario-culture-strategy-telling-our-stories-growing-our- economy Nanos Research. (2015, April 29). Importance of Live Theatre. Retrieved from Hill Strstegies: Facts Stats Insights: http://www.hillstrategies.com/content/importance-live-theatre Nestruck, J. (2018, February 7). Theatre. The Globe and Mail. Retrieved February 21, 2018, from The Globe and Mail: https://www.theglobeandmail.com/arts/theatre-and- performance/come-from-away-musical-broadway-investors/article37876442/ Nestruck, J. K. (2017, April 15). A surplus and high attendance: A standing ovation for Stratford’s success. Retrieved October 17, 2018, from The Globe and Mail: https://www.theglobeandmail.com/arts/theatre-and-performance/a-surplus-and-high- attendance-a-standing-ovation-for-stratfords-success/article34418134/ Nordicity. (2016, June). Economic profile of Ontario’s computer animation and visual effects industry in 2014: Final report. Retrieved Fenruary 09, 2018, from Computer Animation Studios of Ontario: http://www.omdc.on.ca/Assets/Research/Research+Reports/Economic+Profile+of+Ontar io$!27s+Computer+Animation+and+Visual+Effects+Industry+in+2014.pdf Nordicity Group Limited. (2017, September). Canada's video game industry in 2017: Final rport. Retrieved February 08, 2018, from Entertainment Software Association of Canada: http://theesa.ca/wp-content/uploads/2017/11/ESAC-Video-Games-in-Canada-Profile- 2017_FINAL.pdf OMDC. (2016). Year in Review: Screen-based Industries. Retrieved from Ontario Media Development Corporation: http://www.omdc.on.ca/year_in_review/english/#p=5 Ontario. (2017). Labour market report, January 2017. Retrieved from Ontario: https://www.ontario.ca/page/labour-market-report-january-2017 Ontario Media Development Corporation. (2017b). Ontario film and television production levels. Retrieved January 31, 2018, from OMDC.on.ca: http://www.omdc.on.ca/collaboration/research_and_industry_information/production_stat istics/Ontario_Film_and_Television_Production_Levels.htm Puccio, G. J., Coyle, C. M., Firestein, R. L., & Masucci, C. (2006). A review of the effectiveness of CPS training: A focus on workplace issues. Creativity and Innovation Management, 15(1), 19-33. Ray, M. (2005). The highest hoal: The secret that sustains you in every moment. Oakland, CA: Berrett-Koehler. Ray, M., & Myers, R. (1988). Creativity in business. Mansfirld: Main Street Books. Shaw Festival Public Relations. (2011, May 2). Shaw Festival impacts provincial economy to the

Honours Bachelor of Producing for the Creative Industries | 163

tune of $106.6M. Retrieved October 17, 2017, from The Shaw News Room: http://news.shawfest.com/2011/05/02/shaw-festival-impacts-provincial-economy-to-the- tune-of-106-6m Sheridan College. (1968). The Educational Aims and Proposed Development of Sheridan College in Applied Arts and Technology. unpublished document. Sheridan College. (2017). Creative industries management: Ontario college graduate certificate. Oakville, ON: Author. Sheridan College. (2017). Sheridan Academic Plan 2017-2022. Retrieved from Sheridan College: www.sheridancollege.ca/-/media/files/www/about/academic-strategic-plan- 2017.ashx?la=en&hash=4FC43F87... - 2017-08-30 Sheridan College. (2018). Sheridan Board Undergraduate Certificate in Creativity and Creative Problem Solving. Retrieved from Sheridan College: https://www.sheridancollege.ca/academics/faculties/humanities-and-social- sciences/degree-breadth/board-undergraduate-certificate-in-creativity.aspx Sheridan College. (2018). Sheridan Library Services. Retrieved from sheridancollege.ca: http://library.sheridancollege.ca Statistics Canada. (2014, September). Canadian culture satellite account, 2010. Retrieved February 22, 2018, from Statistics Canada: http://www.statcan.gc.ca/pub/13-604-m/13- 604-m2014075-eng.htm The Conference Board of Canada. (2008, July 29). Valuing culture: Measuring and understanding Canada’s creative economy. Retrieved January 31, 2018, from The Conference Board of Canada: https://www.conferenceboard.ca/temp/a3d49ff2-6bf3- 4283-bb80- 3e08d7d13ccd/08_152%20Canada's%20Creative%20Economy_RPT_WEB.pdf Toronto, C. o. (2018). Why film in Toronto. Retrieved January 31, 2018, from Toronto: https://web.toronto.ca/business-economy/industry-sector-support/film/why-film-in- toronto/ UNCTAD. (2008). Creative Economy Report 2008. Retrieved February 21, 2018, from United Nations Conference on Trade and Development (UNCTAD): http://unctad.org/en/Docs/ditc20082cer_en.pdf UNESCO. (2013). Creative economy report: > Widening local development pathways. © United Nations/UNDP/UNESCO. Retrieved from www.unesco.org/culture/pdf/creative- economy-report-2013.pdf United Nations. (2008). Creative Economy: Report 2008: The challenge of assessing the creative economy: Towards informed polict-making. Retrieved from United Nations Conference on Trade and Development (UNCTAD.org): http://unctad.org/en/docs/ditc20082cer_en.pdf Vogel, F. B., & Hodges, B. (2006). The Commercial Theatre Institute guide to prodicing plays and musicals. New York: Applause Theatre & Cinema Books. Wijman, T. (2017, November 28). New gaming boom: Newzoo ups Its 2017 global games market estimate to $116.0Bn growing to $143.5Bn in 2020. Retrieved February 23, 2018, from Newzoo: https://newzoo.com/insights/articles/new-gaming-boom-newzoo- ups-its-2017-global-games-market-estimate-to-116-0bn-growing-to-143-5bn-in-2020/) Wong, T. (2017, June 02). Entertainment . Television. The Star. Retrieved January 31, 2018, from TheStar.com: https://www.thestar.com/entertainment/television/2017/06/02/how- torontos-film-and-tv-production-has-surged-past-2-billion.html World Economic Forum. (2018). The Future of Jobs Report 2018. Geneva: World Economic Forum. World Economic Forum. (n.d.). Skills stability. Retrieved January 31, 2018, from The future of jobs: http://www3.weforum.org/docs/WEF_FOJ_Executive_Summary_Jobs.pdf

Honours Bachelor of Producing for the Creative Industries | 164