Evaluating student-generated film as a learning tool for qualitative methods: geographical “drifts” and the city

Abstract

Film as a tool for learning offers considerable opportunity for enhancing student understanding. This paper reflects on the experiences of a project that required students to make a short film demonstrating their practical understanding of qualitative methods. In the psychogeographical tradition, students were asked to “drift” across the urban environment and record their own experiences of the places encountered. The findings suggest this “drift-film” strategy can be successful in sensitizing individuals to the benefits of qualitative methods, can enhance students' ability to story-board and structure their arguments, and develop key editing skills which can be transferred to future employability.

Keywords:

• Film
• qualitative methods
• mobile methods
• psychogeography
• drift

Notes

1. The project was implemented through a second year undergraduate module on research methods. The project formed the assessment for the qualitative methods section of the module and was constructively aligned to a set of introductory lectures on interviews, (auto)ethnography and interpretation skills.

2. As these tasks imply, it was decided to give student-specific objectives around which to structure their drifts, despite these potentially running counter to the aim of psychogeography to “confuse and re-imagine” everyday space. The intention was not for students to “get lost” in the city, but rather (re)engage them directly with their understanding of it through the practice of qualitative methods. Allied to this, and in line with University regulations, all groups completed an Ethical Approval Form, and all potential issues (for example, the legality of taking photos in (semi-)public places, e.g. malls) were discussed with the Module Leader prior to the commencement of the drift. In practice, no students encountered problems with filming in public places (perhaps because no interior public places, e.g. shopping malls were chosen for drifts). At all times students were encouraged to show courtesy towards and request permission from any members of the public they approached for a direct and explicit contribution to the work.

3. In a similar vein to Note 2, although psychogeography often seeks to disrupt and confuse conventional understandings of place, for the purposes of this assessment students were encouraged to present their findings in a conventionally modern, linear, narrative.

4. Coupled to this flipcams and audio recording equipment were made available for student use. However, with the availability and ownership of digital cameras and mobile phone technology (most with still and moving camera facilities, alongside audio recording capabilities), 95 per cent of students did not take up this offer for this project.

5. For example http://www.guardian.co.uk/travel/interactive/2009/mar/30/wales-short-breaks-insider-guide; http://www.guardian.co.uk/travel/audioslideshow/2009/dec/11/scotland-walking-holidays-wild-camping; http://www.guardian.co.uk/travel/audio/2010/apr/30/communities.

6. Although these guidelines for assessment were given, the final film product was marked holistically, with each element contributing to an overall percentage score for the film.