A module-based approach to foster and document the intercultural process before and during the residence abroad.

This article contributes to the debate on what form of preparation and support can enhance the intercultural student experience during the Year Abroad. It presents a credit-bearing and multi-modal module at a UK university designed to both prepare students prior to departure through a series of workshops and activities on an e-portfolio and help them engage in meta-reflection on intercultural issues during their stay. The presentation of the curricular components of the course and instances extracted from student blogs are contextualised within theoretical considerations on intercultural education and a holistic approach to student development. The longitudinal evolution of the module is presented in the context of an iterative approach leading to a cycle of revisions and amendments. With its pragmatic stance this article aims to address one of the concerns recently expressed about intercultural education, namely that although intercultural theories are suitably incorporated in the latest thinking on communicative competence, there is a lack of evidence-based practice.

I film therefore I am: process and participation, networks and knowledge – examples from Scottish community media projects.

This chapter examines community media projects in Scotland as social processes that nurture knowledge through participation in production. A visual and media anthropology framework (Ginsburg, 2005) with an emphasis on the social context of media production informs the analysis of community media. Drawing on community media projects in the Govan area of Glasgow and the Isle of Bute, the techniques of production foreground “the relational aspects of filmmaking” (Grimshaw and Ravetz, 2005: 7) and act as a catalyst for knowledge and networks of relations embedded in time and place. Community media is defined here as a creative social process, characterised by an approach to production that is multi-authored, collaborative and informed by the lives of participants, and which recognises the relevance of networks of relations to that practice (Caines, 2007: 2). As a networked process, community media production is recognised as existing in collaboration between a director or producer, such as myself, and organisations, institutions and participants, who are connected through a range of identities, practices and place. These relations born of the production process reflect a complex area of practice and participation that brings together “parallel and overlapping public spheres” (Meadows et al., 2002: 3). This relates to broader concerns with networks (Carpentier, Servaes and Lie, 2003; Rodríguez, 2001), both revealed during the process of production and enhanced by it, and how they can be described with reference to the knowledge practice of community media.