International collaborations in student-centered mobile moviemaking : combining online tools for an innovative global pedagogy
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Citation:Wagner, D. (2014, June). International Collaborations in Student-Centered Mobile Moviemaking: Combining Online Tools for an Innovative Global Pedagogy. The Future of Education (Ed.), ISBN 9788862924993 Proceedings of the Fourth International Conference on the Future of Education.
Permanent link to Research Bank record:http://hdl.handle.net/10652/3938
In the last few short years, interconnectivity has brought about new levels of artistic collaboration. Businesses, schools and artists alike are now engaging in multimedia remote collaboration as a matter of course. The next generation of filmmakers, for example, will surely involve an ever-greater degree of remote collaboration, as more teams work together on projects across the planet. There are now many choices of tools and platforms available to link the world through connected devices. How these tools are strategically employed can mean the difference between a smooth, successful collaboration and one that’s fallen short of its potential for full member involvement. So...is there such thing as a perfect recipe for an engaging international collaboration? This paper examines one evolving case study in international collaboration within an educational context, parsing the choices made and measuring them against student uptake and involvement. Entertainment Lab for the Very Small Screen (ELVSS) is an evolving experiment in remote collaboration by international student teams collectively making movies on their mobile phones. As the ELVSS project has expanded and grown more complex since its inception in 2011, so have the lessons to be learned from it. What light can this globally collaborative effort shed on all future international collaborations, particularly ones involving mobile moviemaking? To what extent did the combination of smart phones and Web 2.0 platforms assist or impede fluid communication, seamless workflow and creative contribution amongst the huge cohort? What were its successes, what were its lessons? How can we continue to improve the pedagogy of collaborative practice in mobile moviemaking?