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Dennis Conway's Academic Publications
2014 “Which is More Vital to Production Classes: Teaching Content or Technology?” (Expected Date of Publication in BEA’s Journal of Media Education” is Spring 2015).   This was originally presented as part of a five-person panel at the 2014 BEA conference, and I originated, moderated, and presented on the panel.   My vote was for “Content,” and I argued that by inspiring students with film models to emulate, they would be more inclined to learn production cameras, lighting and editor technology.
2012 “Are Incentives From U.S. State Film Offices to Media Productions Worth The Money?,” 9 pages, published in the BEA (Broadcast Education Association) Journal of Media Education, October 2012 edition.   The incentives from all 50 state film boards (and the District of Columbia, and Puerto Rico) to film, TV, and Internet productions are reviewed, and the merits of subsidizing these artistic activities in a recession is assessed.   See: http://en.calameo.com/books/000091789f7b01ad2cc34
* Honors: Paper was chosen for 2013 BEA Conference “Scholar to Scholar” session by BEA PAC (Production, Aesthetics, and Criticism) Division.
2012 “Why Teachers Should Assign Mandatory Page Counts in Introductory Screenwriting Classes,” 5 pages, published in the BEA Journal of Media Education, July 2012 edition.   A process is outlined by which screenwriting teachers can tailor their “mandatory page count” to their particular student body, department, school, and region of the country, in order to inspire students to create high quality, challenging stories in various genres.   See: http://en.calameo.com/read/0000917894307c321e6ae
2011 “Are ‘Instant Film Festivals’ Good for Students?: Data and Debate,” 7 pages, published in the BEA Journal of Media Education, April 2011 edition.   This paper is the first to measure the worldwide “time-dependent” video production festivals, in which each production team is given a film genre, a prop, a line, and a character, all of which they must use in their final piece.   Teams are given a limited amount of time to write, produce, and edit their videos.   I argue that these festivals are beneficial to students.   See: http://en.calameo.com/read/0000917892f0725515422
2010 “Can Student Screenwriters Provide Valuable Criticism To Their Peers?,” 5 pages, published in the BEA Journal of Media Education, January 2010 edition.   This is a position paper voting “No” on the question.   In a companion piece, Dr. Rustin Greene of James Madison University argues the “Yes / Maybe” position. (I’m happy to allow student critiques in Advanced Screenwriting, classes, though!)   See: http://en.calameo.com/read/000091789ef62bd650a1b
2009 “Online Film Festivals and Diversity: Are We There Yet?,” 26 pages, published in the BEA Journal, Feedback, Sept. 2009 edition, Volume 50, No. 5.   This is a quantitative study of 22 online film festivals. Abstract: “In 2000… It now seemed possible to create online film festivals, in which video makers sent in digital video entries online, to be viewed and judged by audiences online, with the winners announced online.   Well, in 2009, ‘Are we there yet?’   If so, what advantages do online festivals have over the real world ‘bricks and mortar’ festivals?   And which communities do they best serve?”   See: http://www.beaweb.org/feedback.html
2007 “The Pollffest (Poll Film Festivals) Study: Diversity in American Film Festivals,” 12 pages, published in the BEA Journal, Feedback, Jan. 2007 edition, Volume 48, No. 1.   This three-year study was the world’s first measure of diversity in American film festivals, measuring their size, scope, and purpose.   Hundreds of festivals were queried through almost 2000 emails to collect the data, which correctly predicted that most festivals would fall into categories of large scale industry-oriented group, or small scale grassroots-oriented group, with only a few “hybrid” festivals in the middle.   See: http://www.beaweb.org/feedback.html