CPAD Summer Media Recommendations and Reviews

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CPAD Summer Media Recommendations and Reviews

Welcome to the new Summer Recommendation and Reviews article series where our CPAD community chat about some of their favorite media. Enjoy your Summer!

~CPAD

 

Master and Commander: The Far Side of the World Genre: Historical Action

Summer Review #1 by Peter Rea

 

Starring: Russell Crowe, Paul Bettany

I’m often a contrarian. We play video games and I look for a spec that nobody is playing, and I try to go see what the deal is. Is it underpowered? Do people not like it? Is there some hidden thing that people are missing that maybe I can figure out? With my favorite movie, this is not the case. The film that I love the most and I believe is the greatest film ever made are one in the same: Lawrence of Arabia. It’s a sweeping epic starring Peter O’Toole, Omar Sharif, and Alec Guinness and it is the most splendid visual and dramatic piece ever made. It also holds the distinction of being the only film to ever win Best Picture without having a female speaking role in the film. A feature (the speaking role, not the Best Picture win) that it shares with Master and Commander, and it is not the only one.

It’s been a while since I’ve seen a film that has such apathy towards its viewer as to whether the person who is watching the film actually cares about what is happening. This is, from the beginning, a film about dudes doing stuff on a boat. That’s what they do. You are watching dudes do stuff on a boat without understanding why and, Lord knows, not understanding what they’re talking about. There is no long introduction about vocabulary or an explanation about why the twelve-year-olds are the ones giving orders to grown men. I don’t think the film even cares. You’re just supposed to nod your head and say “Yeah! Go down the port side at arms for a keelhaul! That sounds like what we should do!” We’ve seen this before, mostly in space movies like Apollo 13 or The Martian, but those films, especially The Martian, get around that by having someone in the room who needs stuff explained to them (most of the time it’s Jeff Daniels) to act as the audience to have Daniel Glover go around the room with a pen and a stapler to explain astrophysics. Master and Commander does not care; just nod your head and feel intelligent when you figure something out.

The actual plot of the film is Moby Dick, except it’s an enemy boat instead of a whale. Russel Crowe becomes obsessive about chasing the French vessel Acheron across the Pacific Ocean. He’s outgunned and outmanned, but he must do it for the empire! A lot of the film is episodic, they fight, they stop at some islands and stuff happens, the wind won’t go, and stuff happens, and so forth, and whether you’ll enjoy this movie relies almost entirely on whether you care about the characters and their interactions with one another throughout the middle of the film. How many shouting matches between Paul Bettany, who plays the ship’s surgeon, and Russell Crowe do you care to hear on whether this is a glorious mission or a fool-hardy errand that is going to get them killed? Do you care about the twenty-minute side-quest Paul Bettany goes on to document the wildlife of the Galapagos Islands? How about multiple dinner scenes where people get drunk on the boat and tell jokes? Maybe? At a two and a quarter hour runtime, it doesn’t overly stay it’s welcome too much.

This comes off as overly critical, but it’s not. Having the courage to make a film like this (I have not read the books) and just make the movie that you want to make is something that real filmmakers do. This messing around with four hundred edits to make it more palatable to a wider audience leads to Suicide Squads and Wonder Woman 1984s as opposed to Ladybirds and Master and Commanders. By and large, it works. Not always, but it works. You feel like you are coming along for the ride. You care about the minor characters’ fates, even though I don’t remember a single one of their names ten days after watching the film. You want them to win and often laugh when there’s a joke and gasp when something bad happens. Crowe is splendid in this, Bettany a little less so, but he suffices, and it’s Crowe’s movie. That’s when the film works best when he is strutting around in his absurd hat, taking other people’s ideas for his own, and executing brilliant boat [stuff], cause that’s what we all came here to watch. Not quite a classic, but certainly something that will work its way into the rotation when I’m looking for a movie to watch.

Using Student Self-Assessment Effectively

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Using Student Self-Assessment Effectively

-Cookie Redding, CPAD Faculty

When students are focused only on their grade or what you think of their work, they miss something important. They miss the chance to really understand their own creative process, to see where they are growing, and to figure out what they want to get better at. One of the best ways to shift that focus is to build in self-assessment.

When it is done well, self-assessment helps students slow down and actually think about what they are doing. It gives them a moment to check in with themselves, to notice what they are learning, how they are approaching the work, and what they might want to focus on next. It helps build a sense of independence, self-awareness, and creative confidence. But for it to really work, it has to be more than an afterthought. A quick “how do you think you did” at the end of a project is not going to be enough. When you weave self-assessment in with care, it can lead to deeper learning and help you respond to what students are actually experiencing, not just what you imagine they are getting out of it.

In creative classes, students deal with a lot of uncertainty. They are always wondering if their work is good enough, if they are doing it “right,” if it will meet the expectations. Self-assessment helps take some of that energy and point it inward, instead of just trying to figure out what you want. It teaches students to pay attention to their own process and decisions. Over time, it helps them develop habits of reflection that stick around long after the course is over. It makes it easier for them to see both their strengths and the areas they want to work on. It gives them better language to talk about their ideas and their work. It shows them how effort, process, and outcomes are connected. And maybe just as important, it helps them move away from always chasing approval from someone else. In fields like visual art, design, theatre, dance, and architecture, this kind of reflection is already a natural part of the process. Self-assessment fits right in. It is not an extra task. It is part of making creative work.

Self-assessment is not about grading yourself. It is not about trying to guess what grade you will get or pretending to be humble. It is about asking real questions. What was I trying to do with this project? What choices did I make along the way? What feels strong? What would I change if I had more time? And it is not something that has to wait until the end of a project either. You can bring it in earlier and make it part of the creative process itself.

It works best when it is part of the regular rhythm of the class. You can have students reflect after they finish a project, checking in on what worked, what did not, and what they would do next time. You can have them reflect midway through a project, giving them a chance to regroup before critique or revisions. At the start of the course, you can invite them to name their goals or comfort zones. After giving feedback, you can have students take a breath and reflect before they dive into revising. The more often they do it, the more natural it starts to feel, and the more it becomes part of how they work.

The key to good self-assessment is asking better questions. Open-ended questions can sometimes lead to vague or surface-level answers, so it helps to give students some structure to work with. You might ask about their process, like what steps they took or where they ran into challenges. You might ask about decision-making, like why they chose a particular format or approach. You might ask about the final outcome, like what they feel good about and what they would want to revisit. You might focus on growth, asking what they learned about their creative process and where they see themselves improving. You can even have them set a goal for their next project based on what they notice.

You do not have to turn self-assessment into a big, complicated assignment. In fact, it works better when it stays short and consistent. It might be a quick written reflection at the end of a project or before a critique. It could be a simple checklist or Google Form with a few questions. If your course already has journals or sketchbooks, you can weave self-assessment into that work. You can have students fill out a quick critique prep sheet before they present their work to their peers. If you have a smaller or more flexible class, sometimes a short one-on-one chat or a voice note can work even better than writing.

Students are usually more willing to be honest when they know that self-assessment is not about getting graded or being penalized. It helps to be clear from the start. You are not looking for students to defend their work or explain away problems. You are looking for honest reflection. You are not looking for perfection. You are looking for awareness, growth, and thoughtfulness. It also helps to normalize the idea that every piece of work has both strengths and areas for improvement. That is part of making art. That is part of learning.

One of the best ways to get even more out of self-assessment is to connect it with feedback. You can have students reflect on how the feedback they received lines up with what they already noticed about their work. You can ask them what feedback surprised them, what they expected to hear, how the feedback relates to their own reflections, and what changes they plan to make. When you do that, feedback is not just a one-way street. It becomes a conversation between the student, their work, and the people engaging with it.

At the end of the day, teaching creative work is not just about helping students make something good. It is about helping them learn how to think about what they make. Self-assessment gives them a tool they can carry forward into their next project, their next class, and their own creative life beyond school. It is not about making students grade themselves. It is about building habits of reflection that lead to deeper learning and stronger, more thoughtful work. When you build it into your course with care, self-assessment stops being an extra step. It becomes part of how students learn to create, think, and grow.

Rewriting Your Assignments for Clarity (Without Losing Rigor)

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Rewriting Your Assignments for Clarity (Without Losing Rigor)

-Cookie Redding, CPAD Faculty

How many times have you given an assignment, only to hear a flood of questions that make you wonder if you explained it at all?

It happens to all of us. We put a lot of thought into the goals and expectations of a project, but when students read the prompt, they focus on a completely different part. Sometimes they miss what matters most. Other times, they are overwhelmed by all the instructions and have no idea where to begin. Assignment prompts that feel clear to us as instructors can be experienced as vague, confusing, or inconsistent by students.

That is where rewriting your assignments with clarity in mind can make a big difference. And no, this does not mean watering anything down. You can hold onto complexity, challenge, and rigor while making your assignments easier to understand and explore.

What Do We Mean by Clarity?

Clarity is not about simplification for its own sake. It is about alignment. Clear assignments help students understand what they are doing, why they are doing it, and how they can approach the work. Clarity gives them a way in.

When instructions are unclear, students may make guesses, follow surface-level steps, or give up before starting. This is especially true in creative, visual, or studio-based courses, where the goals may not be explicitly stated or the outcomes may feel open-ended.

Clarity does not mean lowering your standards. It means inviting students into the challenge with the support and information they need to succeed.

Why Assignment Clarity Matters in Creative Classrooms

Creative courses often emphasize exploration, experimentation, and iteration. That is part of what makes them so rich. But that same openness can create uncertainty for students, especially when expectations are not clearly communicated.

Clear assignments help students:

  • Spend less time trying to decode what you meant

  • Focus more energy on the work itself

  • Take greater creative risks because they understand the foundation

  • Reflect more effectively on their process and learning

Instructors also benefit from clearer project descriptions. You can give better feedback, assess work more fairly, and spend less time repeating the same clarifications across emails and critiques.

Strategies for Rewriting Assignments with Clarity

Here are some ways to revise your assignments while keeping them rigorous, challenging, and open to creative interpretation.

1. Focus on the Why

Start by explaining the purpose of the assignment. What is the point of this project? What skill, habit, or concept is it meant to develop?

Example:
Instead of saying “Create an abstract composition using three colors,”
try “This project explores how color relationships affect visual energy and tension. You will be using only three colors to push contrast, harmony, and compositional balance.”

Knowing the why helps students invest more fully in the what.

2. Break It into Parts

If an assignment has multiple layers, use visual spacing, bullets, or headings to separate them. Reading blocks of text with several different goals or constraints buried inside can be overwhelming.

Structure can help without over-scripting. For example, separate sections might be:

  • Project Overview

  • Goals and Learning Outcomes

  • Requirements

  • Format and Materials

  • Timeline

  • Questions to Consider

This kind of formatting supports both visual and neurodiverse learners who may need more structure to stay oriented.

3. Define Success Without Dictating Results

Rather than listing every detail, describe what success might look like in a range of ways. This leaves space for creativity while giving students direction.

Example:
“Successful projects will show thoughtful use of layering, a clear visual point of emphasis, and a connection to your chosen concept. Projects should reflect both intention and experimentation.”

You are not prescribing the outcome, but you are signaling what qualities will be valued.

4. Provide Examples and Non-Examples

Whenever possible, share past work (with permission) or mock examples. You do not need a full demo. Even two or three images can clarify the tone or approach you are inviting.

Better still, pair an example with a reflection on why it worked and what could be improved. This helps students move beyond copying and into understanding.

If you do not have visuals yet, walk through a hypothetical version in class. What decisions would you make if you were completing the prompt?

5. Check for Jargon or Vague Language

Terms like “engaging,” “strong,” or “successful” sound good, but mean very little without context. Where possible, replace abstract language with specific, observable criteria.

Try reading your prompt aloud or having a colleague read it. Ask them to tell you what they think the assignment is asking. If their takeaway does not match your intent, revise for clarity.

What Clarity Does Not Mean

It is important to note what this kind of rewriting is not.

Clarity is not about oversimplifying.
Clarity is not about doing the thinking for students.
Clarity is not about removing ambiguity entirely.

The goal is not to reduce complexity, but to reveal the structure that supports it. A well-written assignment prompt helps students understand where they are headed, even if the path includes moments of confusion, experimentation, or revision.

Sample Revision: Before and After

Here is a quick example to show how a few small changes can create more clarity without removing challenge.

Before:
Design a poster based on a current event. Use principles of design to create an effective composition. Your poster should reflect your personal style and communicate a message clearly.

After:
Create an 11 x 17 poster that responds to a current event of your choice. You will use principles of contrast, alignment, and hierarchy to guide your design decisions. The poster should balance strong visuals with a clear message. Choose a topic that matters to you and take a stand visually.

Goals: Explore how design communicates meaning and persuasion. Develop skills in layout, messaging, and visual storytelling.

Requirements:

  • Size: 11 x 17 inches, portrait orientation

  • Include a headline and at least one supporting visual

  • Use at least two of the following: type contrast, grid alignment, image-text layering

  • Prepare to share a brief rationale during critique

Final Thoughts

Clarity does not make a course easier. It makes it more effective. When students understand what they are being asked to do and why it matters, they are more likely to dig into the work in a meaningful way.

Creative learning thrives when students feel supported enough to take risks. Clear assignment materials are one of the easiest ways to give that support without compromising the depth or ambition of your course.

If it has been a while since you looked at how your assignments are written, this is a great time to revisit. A few small changes might unlock more confident and curious engagement from your students.