DOCSLIB.ORG

Beacons Faqs 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Beacons Faqs 2021 Beacons 2021 FAQs Contents Timeline ............................................................................................................. 3 When do applications open and close for this round of Beacons?................ 3 When will I hear if my application has been successful? ............................... 3 I already shot my film. Can I apply for completion funding? ......................... 3 I want to shoot my film in 2021, can I apply? ................................................ 3 Individual/Team Eligibility ................................................................................ 3 I’m under 18 / a full-time student, can I apply? ............................................ 3 I haven’t made any screen work before, can I apply? ................................... 3 I’ve only made low budget screen work before, can I apply? ....................... 4 I’ve had a short film financed / commissioned by a broadcaster before, can I apply? ........................................................................................................... 4 I’ve previously made a feature film, can I still apply? ................................... 4 Do I need to be from and/or living in Wales to be eligible to apply? ............ 5 Our director is not Wales born or based, but others in our team are. Can we apply? ............................................................................................................ 5 I don’t have a producer on board yet, can I apply? ....................................... 5 Can I direct and produce my film? ................................................................. 5 Do I need to have cast and crew attached when I apply? ............................. 5 Project Eligibility ............................................................................................... 6 What’s the minimum/maximum length my film can be? .............................. 6 My film is a documentary/animation/hybrid/experimental piece, can I apply? ............................................................................................................ 6 Can I apply to make a proof of concept short for a feature film? ................. 6 I have an idea for a TV pilot, can I apply? ...................................................... 7 Submitting an Application ................................................................................. 7 Which application form should I fill in? What if my film is a blend of live action and animation / fiction and documentary / animation and documentary OR other hybrid? ..................................................................... 7 1 My film is fully/partially in the Welsh language. Can I submit my application in Welsh? .................................................................................... 8 What is the maximum amount of funding I can apply for? ........................... 8 How much of my film’s budget will Beacons fund? ....................................... 8 Can I get some guidance on completing my budget? .................................... 8 Should I budget for Covid-19 health & safety measures? ............................. 9 Can I submit more than one application? ...................................................... 9 Can I resubmit a project that was previously unsuccessful? ......................... 9 Can I get some support to make an application? .......................................... 9 Assessment and Feedback .............................................................................. 10 Who will look at my application? ................................................................ 10 Will I get feedback if my application is unsuccessful? ................................. 10 Working with Ffilm Cymru and BBC Wales ..................................................... 11 What will be expected of me/my team if successful? ................................. 11 Will I be paid if my short film is commissioned? ......................................... 12 Will I own my short film if it’s commissioned? ............................................ 12 What training and mentoring will be available? ......................................... 12 Will access support be available for myself, my cast and/or crew? ............ 13 What rights will BBC Wales obtain to my film? ........................................... 13 Will I be able to submit my film to festivals? .............................................. 14 Will I be able to put my short film online before/after its BBC Wales broadcast? ................................................................................................... 14 Other Funding ................................................................................................. 14 What other funding is available for my short film, if I’m not eligible for Beacons? ...................................................................................................... 14 Contact ............................................................................................................ 15 Who can I contact if I have further questions? ............................................ 15 2 Timeline When do applications open and close for this round of Beacons? Applications open on Wednesday 14th April and close on Friday 11th June 2021 at 3pm When will I hear if my application has been successful? Applicants will be notified of whether they have been shortlisted within 12 weeks of the application deadline (by 3rd September 2021). I already shot my film. Can I apply for completion funding? As Beacons is a development and production scheme, we cannot support short films that are already in production or post- production. I want to shoot my film in 2021, can I apply? Commissioning decisions for this round of Beacons will take place in November 2021, following a period of intensive development. We expect that the short films will go into production from early 2022. Individual/Team Eligibility I’m under 18 / a full-time student, can I apply? Unfortunately we cannot accept applications from those who are under 18 and/or in full-time education. I haven’t made any screen work before, can I apply? 3 Yes, if you have a track record in a creative leadership role in a related medium, for example theatre, TV or moving image. If you don’t yet have any screen work or track record in a related medium, we advise you take a look at our Ffolio scheme. I’ve only made low budget screen work before, can I apply? Yes. Applicants may have previously made student work, self- financed work or privately financed work on a low budget. I’ve had a short film financed / commissioned by a broadcaster before, can I apply? Yes, you can. Part of our assessment will be around how making a Beacons film will progress your career, so do think about this when making your application. For example, will the proposed project be more ambitious than your previous short film, or perhaps allow you to test out your ideas in a different genre? I’ve previously made a feature film, can I still apply? The writer, director and producer on the project must not yet have been the lead writer, director or producer on a completed feature film, unless it was self or privately financed at a budget of under £1 million. If you have previously made a low budget feature film, our Horizons fund may be better suited to you. For Beacons, part of our assessment will be around the benefit to the filmmakers’ career of making the proposed short film. So if applying, do clearly articulate this in our application. 4 Do I need to be from and/or living in Wales to be eligible to apply? The director or writer/director on the project must be either born or based in Wales, or both. Other team members do not need to be born or based in Wales, although we welcome all-Welsh teams. Our director is not Wales born or based, but others in our team are. Can we apply? Unfortunately we cannot accept applications from teams where the director or writer/director is not Wales born or based. I don’t have a producer on board yet, can I apply? Yes, you can apply without a producer. However any final commission will be dependent on attaching a producer. Should the project be selected for initial development support, this is something Ffilm Cymru can advise on. Can I direct and produce my film? Due to the requirements and responsibilities of making and delivering an industry-funded short film, directors should plan to work with a producer (or producers) rather than taking on this role on their own. Do I need to have cast and crew attached when I apply? No, there is no requirement to attach cast and crew, given that Beacons is for projects currently in development. You may already be collaborating with key creatives however, in which case please let us know the details in the appropriate section of the application form. 5 Project Eligibility What’s the minimum/maximum length my film can be? There’s no minimum length, although most Beacons films fall somewhere between 5 and 15 minutes. We are looking for a certain level of ambition in the storytelling and creative vision. The appropriate length may differ depending on the type of film. For example, an animation might have a shorter runtime than a live action film due to high costs and/or longer production timeframes. If your project is intended as a micro-short (90 seconds to 5 minutes) and you don’t already have experience in making screen work, we advise taking a look at our Ffolio scheme to see if you’re eligible. The maximum length for Beacons
Load more

Recommended publications
  • FICTIONAL NARRATIVE WRITING RUBRIC 4 3 2 1 1 Organization
    FICTIONAL NARRATIVE WRITING RUBRIC 4 3 2 1 1 The plot is thoroughly Plot is adequately The plot is minimally The story lacks a developed Organization: developed. The story is developed. The story has developed. The story plot line. It is missing either a interesting and logically a clear beginning, middle does not have a clear beginning or an end. The organized: there is clear and end. The story is beginning, middle, and relationship between the exposition, rising action and arranged in logical order. end. The sequence of events is often confusing. climax. The story has a clear events is sometimes resolution or surprise confusing and may be ending. hard to follow. 2 The setting is clearly The setting is clearly The setting is identified The setting may be vague or Elements of Story: described through vivid identified with some but not clearly described. hard to identify. Setting sensory language. sensory language. It has minimal sensory language. 3 Major characters are well Major and minor Characters are minimally Main characters are lacking Elements of Story: developed through dialogue, characters are somewhat developed. They are development. They are Characters actions, and thoughts. Main developed through described rather than described rather than characters change or grow dialogue, actions, and established through established. They lack during the story. thoughts. Main dialogue, actions and individuality and do not change characters change or thoughts. They show little throughout the story. grow during the story. growth or change during the story. 4 All dialogue sounds realistic Most dialogue sounds Some dialogue sounds Dialogue may be nonexistent, Elements of Story: and advances the plot.
    [Show full text]
  • Fiction and the Theory of Action
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by White Rose E-theses Online Fiction and the Theory of Action A Dissertation Submitted in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy Laurence Piercy School of English Literature, Language and Linguistics University of Sheffield May 2014 Abstract This thesis explores four mid-twentieth century fictional texts in relation to concepts of action drawn predominantly from Anglo-American analytic philosophy and contemporary psychology. The novels in question are Anna Kavan’s Ice, Samuel Beckett’s How It Is, Vladimir Nabokov’s Pale Fire and Malcolm Lowry’s Under the Volcano. The theory of action provides concepts, structures, and language to describe how agency is conceptualised at various levels of description. My exploration of these concepts in relation to fiction gives a framework for describing character action and the conceptualisation of agency in my primary texts. The theory of action is almost exclusively concerned with human action in the real world, and I explore the benefits and problems of transferring concepts from these discourses to literary criticism. My approach is focused around close reading, and a primary goal of this thesis is to provide nuanced analyses of my primary texts. In doing so, I emphasise the centrality of concepts of agency in fiction and provide examples of how action theory is applicable to literary criticism. i Table of Contents Abstract i Table of Contents ii Introduction 1 Chapter One
    [Show full text]
  • The Erinyes in Aeschylus' Oresteia
    The Erinyes in Aeschylus’ Oresteia Cynthia Werner A thesis submitted for the degree of Doctor of Philosophy Victoria University of Wellington (2012) ABSTRACT This dissertation explores the Erinyes’ nature and function in Aeschylus’ Oresteia. It looks at how Aeschylus conceives the Erinyes, particularly their transformation into Semnai Theai, as a central component of the Oresteia’s presentation of social, moral and religious disorder and order. The dissertation first explores the Erinyes in the poetic tradition, then discusses the trilogy’s development of the choruses, before examining the Erinyes’ / Semnai Theai’s involvement in the trilogy’s establishment of justice and order and concluding with an analysis of why Aeschylus chooses Athens (over Argos and Delphi) as the location for trilogy’s decision making and resolution. Chapter One explores the pre-Aeschylean Erinyes’ origin and primary associations in order to determine which aspects of the Erinyes / Semnai Theai are traditional and how Aeschylus innovates in the tradition. It further identifies epithets and imagery that endow the Erinyes / Semnai Theai with fearsome qualities, on the one hand, and with a beneficial, preventive function, on the other. The discussion of the development of the choruses throughout the trilogy in Chapter Two takes three components: an examination of (1) the Erinyes’ transformation from abstract goddesses to a tragic chorus, (2) from ancient spirits of vengeance and curse to Semnai Theai (i.e. objects of Athenian cult) and (3) how the choruses of Agamemnon and Choephori prefigure the Erinyes’ emergence as chorus in Eumenides. Of particular interest are the Argive elders’ and slave women’s invocations of the Erinyes, their action and influence upon events, and their uses of recurrent moral and religious ideals that finally become i an integral part of the Areopagus and the cult of the Semnai Theai.
    [Show full text]
  • What Libraries Can Do Michael Sullivan Connecting Boys with Books
    Connecting Boys with Books What Libraries Can Do Michael Sullivan Connecting Boys with Books What Libraries Can Do Michael Sullivan American Library Association Chicago 2003 While extensive effort has gone into ensuring the reliability of information appearing in this book, the publisher makes no warranty, express or implied, on the accuracy or relia- bility of the information, and does not assume and hereby disclaims any liability to any person for any loss or damage caused by errors or omissions in this publication. Composition and design by ALA Editions in Aperto and Berkeley using QuarkXPress 5.0 for the PC Printed on 50-pound white offset, a pH-neutral stock, and bound in 10-point coated cover stock by Victor Graphics The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. ϱ Library of Congress Cataloging-in-Publication Data Sullivan, Michael, 1967 Aug. 30- Connecting boys with books : what libraries can do / by Michael Sullivan. p. cm. Includes bibliographical references and index. ISBN 0-8389-0849-7 (alk. paper) 1. Children’s libraries––Activity programs. 2. Young adults’ libraries––Activity programs. 3. Boys––Books and reading. 4. Reading promotion. 5. Reading––Sex differences. I. Title. Z718.1.S85 2003 028.5Ј5––dc21 2003006962 Copyright © 2003 by the American Library Association. All rights reserved except those which may be granted by Sections 107 and 108 of the Copyright Revision Act of 1976.
    [Show full text]
  • 23. Festival Slovenskega Filma
    FESTIVAL OF SLOVENIAN FILM 1 uredniški odbor editorial board Tjaša Smrekar, Jelka Stergel (jezikovna) urednica (language) editor Alenka Ropret oblikovanje design Blaž Krump ilustracije illustrations Adrijan Praznik prevod translation Maja Ropret tisk print Collegium Graphicum naklada print run 700 september 2020 produkcija production Slovenski filmski center, javna agencija Slovenian film center, public agency Nataša Bučar, direktorica Managing Director Miklošičeva 38, Ljubljana www.sfc.si · www.fsf.si KAZALO INDEX Uvodnik 8 Foreword Nagrada Metoda Badjure za življenjsko delo 12 Metod Badjura Lifetime Achievement Award Festivalske nagrade in žirija 20 Festival Awards & Jury 6 FESTIVAL SLOVENSKEGA FILMA Uradni tekmovalni program 26 Spremljevalni program 128 Official Competition Special Screenings Celovečerni filmi 28 Koronaprogram 130 Feature Films Corona Programme Manjšinske koprodukcije 42 Otroški animirani film 136 Minority Co-productions Children’s Animations Srednjemetražni filmi 57 Medium-Length Films Posvečeno 142 Kratki filmi 64 Tribute Short Films Študijski filmi 85 Strokovni program 150 Student Films Industry Events Filmska vzgoja 158 Pregledni program 96 Film Education Panorama Celovečerni filmi 98 Indeks filmov 160 Feature Films Index by Film Title Srednjemetražni filmi 102 Indeks režiserjev 162 Medium-Length Films Index by Film Director Kratki filmi 110 Indeks producentov 164 Short Films Index by Film Producer Študijski filmi 119 Student Films Festivalska ekipa 166 Festival Team Vstopnice in ogled na zahtevo 168 Tickets and video on demand FESTIVAL OF SLOVENIAN FILM 7 NA LICU MESTA IN V OBLAKU Semantika je koristna veda, na katero se spomnimo vsaj takrat, ko se razmerja realnosti spreobrnejo tako korenito, da za novo pojavnost potrebujemo nove oznake ali pa stare oznake oziroma besede in besedne zveze pridobijo dodaten pomen.
    [Show full text]
  • Female Directors and Screenwriters in European Film and Audiovisual Fiction Production
    Female directors and screenwriters in European film and audiovisual fiction production Gilles Fontaine Patrizia Simone July 2020 A publication of the European Audiovisual Observatory SCOPE AND METHODOLOGY ScopeScope Gender of directors and screenwriters of: Audiovisual fiction episodes European* feature films produced in the EU (including the UK) produced between 2015 and 2018 with a first release between 2015 and and theatrically released 2018 in at least one European country on TV or on SVOD services between 2015 and 2019 (excluding series with more than 52 episodes per season) * «European» here refers to the Member States of the Council of Europe. ResearchResearch questionsquestions This report addresses the presence of women among directors and screenwriters of films and audiovisual fiction under three different angles and indicators: A B C What is the share of How are women What is the weighted works directed/written represented among share of women in the by a majority of female active directors and direction/writing of professionals screenwriters? works? (female-driven teams)? Definitions and sourcesResearch : European questions feature films 1/3 The analysis presented in this section draws on data from the European Audiovisual Observatory’s LUMIERE database, which collates annual admissions to theatrically released films from a wide variety of sources, including national film agencies and statistics offices. The study sample includes European feature films produced between 2015 and 2018 and released in cinemas in Europe between 2018 and 2019. The dataset only includes films for which it was possible to track at least one commercial theatrical screening in one of the European markets covered in the LUMIERE database.
    [Show full text]
  • 1 Many Ways of Directing a Film
    Many Ways of Directing a Film: Teaching the ‘Modes of Creative Practice’ Dominic Lees. Semerdjev, Mello et al. 2019. 21st Century Film, TV and Media School Book – Volume 2: Directing The ideas in this chapter spring from a simple observation, that the title ‘Film Director’ does not tell us much about the rich and varied nature of this profession - it is a little like using the term ‘Artist’ without the multiple subcategories of painter/sculptor/illustrator/printmaker…Yet only occasionally do we hear closer definitional terms for a film director, such as the labels actors’ director or action director - hesitant attempts to acknowledge the huge range of roles, and the types of creativity, encompassed by this profession. In the making of live action fiction film, there exists an implicit understanding that the creative practices undertaken by directors will be highly differentiated. Given the extraordinary multiplicity of different film types in cinema, it is axiomatic to say that the working practice of film directors during the creation of these films must vary accordingly. So, as educators whose concern is to train new generations of film directors, we need to think carefully about the huge differences in the nature of the role, and then attempt to find generalisations that might guide us to design new and varied teaching approaches that can reflect the different realities of film directing. A starting point is to ask, What is the best way to categorise the creative practice of ‘film directing’ in all its complexities? Films themselves have been given an array of categorisations, separating them according to systems based on genre, scale and budget, target audience, financing and production system, medium, and 1 form.
    [Show full text]
  • Cambridge Companion Crime Fiction
    This page intentionally left blank The Cambridge Companion to Crime Fiction The Cambridge Companion to Crime Fiction covers British and American crime fiction from the eighteenth century to the end of the twentieth. As well as discussing the ‘detective’ fiction of writers like Arthur Conan Doyle, Agatha Christie and Raymond Chandler, it considers other kinds of fiction where crime plays a substantial part, such as the thriller and spy fiction. It also includes chapters on the treatment of crime in eighteenth-century literature, French and Victorian fiction, women and black detectives, crime in film and on TV, police fiction and postmodernist uses of the detective form. The collection, by an international team of established specialists, offers students invaluable reference material including a chronology and guides to further reading. The volume aims to ensure that its readers will be grounded in the history of crime fiction and its critical reception. THE CAMBRIDGE COMPANION TO CRIME FICTION MARTIN PRIESTMAN cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Informationonthistitle:www.cambridge.org/9780521803991 © Cambridge University Press 2003 This publication is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the
    [Show full text]
  • Bilancio Rai 2020
    Relazione e bilanci al 31 dicembre 2020 Relazione e bilanci al 31 dicembre 2020 Indice 7 Introduzione 19 Relazione sulla gestione 201 Bilancio separato al 31 dicembre 2020 309 Bilancio consolidato al 31 dicembre 2020 413 Deliberazioni dell'Assemblea 417 Corporate directory 4 Indice Introduzione 7 Organi sociali 8 Struttura organizzativa 9 Lettera agli Azionisti del Presidente del Consiglio di Amministrazione 11 Principali dati finanziari 14 Relazione sulla gestione 19 La missione 20 Lo scenario di mercato 20 Il Gruppo Rai 27 La televisione 45 La radio 110 RaiPlay e Digital 122 Produzione televisiva 134 Attività tecnologiche 135 Attività trasmissiva e diffusiva 144 Attività commerciali 146 Altre attività 151 L’evoluzione del quadro normativo e regolamentare 164 Corporate governance 175 Relazione sul governo societario - Modello di Control Governance di Rai e Sistema di Controllo Interno e Gestione dei Rischi (SCIGR) 176 Altre informazioni 182 Risorse Umane e Organizzazione 182 Asset immobiliari 188 Safety & Security 189 Rapporti intersocietari 191 Informazioni supplementari 191 Fatti di rilievo occorsi successivamente al 31 dicembre 2020 198 Prevedibile evoluzione della gestione 199 5 Bilancio separato al 31 dicembre 2020 201 Analisi dei risultati e dell’andamento della gestione economica-patrimoniale e finanziaria dell’esercizio 2020 202 Prospetti contabili di Rai SpA 218 Note illustrative al Bilancio separato al 31 dicembre 2020 223 Attestazione ai sensi dell’art. 154-bis del D. Lgs. 58/98 295 Relazione del Collegio Sindacale 296 Relazione della Società di Revisione 302 Bilancio consolidato al 31 dicembre 2020 309 Analisi dei risultati e dell’andamento della gestione economica-patrimoniale e finanziaria consolidata dell’esercizio 2020 310 Prospetti contabili del Gruppo Rai 325 Note illustrative al Bilancio consolidato al 31 dicembre 2020 330 Attestazione ai sensi dell’art.
    [Show full text]
  • DISAPPEAR HERE Violence After Generation X
    · · · · · · · · · · · · · · · · DISAPPEAR HERE Violence after Generation X Naomi Mandel THE OHIO STATE UNIVERSITY PRESS / COLUMBUS All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Copyright © 2015 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Mandel, Naomi, 1969– author. Disappear here : violence after Generation X / Naomi Mandel. pages cm Includes bibliographical references and index. ISBN 978-0-8142-1286-8 (cloth : alk. paper) 1. Violence in literature. 2. Violence—United States—20th century. 3. Generation X— United States—20th century. I. Title. PN56.V53M36 2015 809'.933552—dc23 2015010172 Cover design by Janna Thompson-Chordas Text design by Juliet Williams Type set in Adobe Sabon Printed by Thomson-Shore, Inc. Cover image: Young woman with knife behind foil. © Bernd Friedel/Westend61/Corbis. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. To Erik with love and x x x All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. contents · · · · · · · · · List of Illustrations vi Acknowledgments vii introduction The Middle Children of History 1 one Why X Now? Crossing Out and Marking the Spot 9 two Nevermind: An X Critique of Violence 41 three The Game That Moves: Bret Easton Ellis, 1985–2010 79 four Something Empty in the Sky: 9/11 after X 111 five Not Yes or No: Fact, Fiction, Fidelity in Jonathan Safran Foer 150 six I Am Jack’s Revolution: Fight Club, Hacking, Violence after X 178 conclusion X Out 210 Works Cited 227 Index 243 All Rights Reserved.
    [Show full text]
  • European High-End Fiction Series. State of Play and Trends
    European high-end fiction series: State of play and trends This report was prepared with the support of the Creative Europe programme of the European Union. If you wish to reproduce tables or graphs contained in this publication, please contact the European Audiovisual Observatory for prior approval. The analysis presented in this publication cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members or the Council of Europe. The European Commission support for the production of this publication does not constitute an endorsement of the contents, which reflect the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. European high-end fiction series: State of play and trends Gilles Fontaine Marta Jiménez Pumares Table of contents Executive summary .................................................................................................. 1 Scope and methodology .......................................................................................... 5 1. Setting the scene in figures ............................................................................. 8 1.1. The production of high-end fiction series in the European Union .................................................................... 8 1.1.1. The UK is the primary producer of high-end series in Europe ................................................... 10 1.1.2. International co-productions: small but growing ..........................................................................
    [Show full text]
  • Ii Table of Contents GENERAL INTRODUCTION to THE
    Table of Contents GENERAL INTRODUCTION TO THE PROGRAM 1.0 EXECUTIVE SUMMARY 1.1 Brief History of the Program ………………………………………..1-2 1.2 Brief Synopsis of Previous Program Review Recommendations……2-5 1.3 Summary of How Program Meets the Standards…………………….6-7 1.4 Summary of Present Program Review Recommendations…………..7-8 2.0 PROFILE OF THE PROGRAMS AND DISCIPLINES 2.1 Overview of the Programs and Disciplines…………………………8-17 2.2 The Programs in the Context of the Academic Unit………………..17-22 HOW PROGRAM MEETS UNIVERSITY WIDE INDICATORS AND STANDARDS 3.0 ADMISSIONS REQUIREMENTS 3.1 Evidence of Prior Academic Success……………………………….22 3.2 Evidence of Competent Writing…………………………………….22 3.3 English Preparation of Non-Native Speakers……………………….23 3.4 Overview of Program Admissions Policy…………………………..23 4.0 PROGRAM REQUIREMENTS 4.1 Number of Course Offerings………………………………………..24 4.2 Frequency of Course Offerings…………………………………….24 4.3 Path to Graduation………………………………………………….24 4.4 Course Distribution on ATC………………………………………..25 4.5 Class Size…………………………………………………………...25 4.6 Number of Graduates……………………………………………….25 4.7 Overview of Program Quality and Sustainability Indicators……….25-26 5.0 FACULTY REQUIREMENTS 5.1 Number of Faculty in Graduate Programs…………………………..26-27 5.2 Number of Faculty per Concentration……………………………....27 6.0 PROGRAM PLANNING AND QUALITY IMPROVEMENT PROCESS…27-29 7.0 THE STUDENT EXPERIENCE 7.1 Student Statistics……………………………………………………29-31 7.2 Assessment of Student Learning……………………………………31-34 7.3 Advising…………………………………………………………….34-35 7.4 Writing Proficiency…………………………………………………35
    [Show full text]