This study looked at college students' perceptions of cooperative learning techniques and their perceptions of cooperative learning as a motivator to studying and whether it was effective for their learning. The purpose was to investigate how the students view the method and techniques as a way for faculty to learn what may be more motivating. It was also to determine if the students reported studying more, if they were more motivated to study, and whether they found cooperative learning to be effective. Results were contradictory with positive evaluations of specific techniques and less than positive evaluations of cooperative learning in general. This suggests that universities and colleges might need to enable a paradigm shift in student expectations of college learning if active learning techniques are to be encouraged, rather than the traditional passive learning often associated with the college classroom.

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A film's visual design is increasingly determined digitally, after principal cinematography. This essay charts the nature of the digital revolution in relation to digital colour grading. Faced with the new digital devices, filmmakers are casting about for appropriate, respectable functions. The paper examines how the first two mainstream Hollywood releases to feature digital colour designs, Gary Ross's Pleasantville (1998), and Joel and Ethan Coen's O Brother Where Art Thou (2000), work as aesthetic prototypes. It argues that digital colour may not so much entail a revolution as careful and considered integration, and one role of the early digitally graded film has been to set out concrete methods for reining the technology to craft norms. Close formal analysis of colour design in these films also illustrates how the aesthetic problems of the digital age replay the dynamics of stylistic development from the classical era.

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