Delegates took part in two Critical Workshops which looked at the critical approaches to moving image texts from a creative methodology. The aim of these workshops was to get delegates thinking about questions and approaches to texts that will affect the ways in which texts areas are created.
Montage: The Hidden Hanguage of Film
This session will look at the principles of Soviet montage, how these ideas are still used today, and how children can use montage in their own filmmaking.
In the years between the Russian Revolution and the rise of Stalin, Soviet filmmakers invented radical new ways of using film. They explored how images could be combined and contrasted to get ideas across, and how the rhythm and pace of editing and the use of music could stir emotions. The montage techniques they developed offer exciting and creative opportunities for students to explore the relationships between picture, sound and editing.
Tom is Director of Media Education Wales, a Cardiff-based non-profit organisation which supports media and moving image education and filmmaking with children, young people and adults. He has run projects and workshops and delivered training in all four countries of the UK and beyond. Tom is particularly interested in ensuring that children's filmmaking is informed by an understanding of film language, and using non-mainstream and non-traditional film forms to encourage creativity and extend children's awareness of moving image culture and heritage. Recently Tom has led several projects in areas of social deprivation which have linked filmmaking to creative writing, music-making and poetry.
Digital Storytelling using Podcasting and Vodcasting
This session explored the use of Podcasting and Vodcasting as vehicles for digital storytelling. This workshop explored the ways that still images, audio and video can be combined to communicate strong narratives and messages in the classroom.
David Baugh is a primary trained teacher with classroom experience of teaching students aged 5 - 18 latterly LA Advisor with responsibility for ICT in 65 schools. He is now an independent trainer, author and adviser for ICT working for a wide range of organisations. He has been an Apple Distinguished Educator for 9 years and is an Apple Certified Trainer. He was the winner of the Teaching Awards Creative use of ICT in 2000 and Becta's ICT in Practice awards in 2001. Most recently he has authored and developed the Digital Cre8or Award which is a Level 1 and 2 qualification equivalent to the ECDL that allows students and teachers to get accreditation for the creative use of digital media (www.bcs.org/cre8or).
Losing the Edit: Shots in Sequence
Do we need editing software to make films that work, or is it possible to create quality filmed outcomes without the footage leaving the camera?
In-camera editing enforces discipline into filmmaking as students decide in advance which shots are essential in conveying meaning. Valuable as a stand-alone technique, it can also function as a starting point for learning about the editing process. This workshop begun with a critical exploration of short filmed sequences and moved on to explore the possible applications of in-camera editing techniques across a range of curriculum areas.
Emma Bull works at Film Education as an Adviser for Secondary Education. She began her teaching career at a specialist Media Arts College where her extra responsibilities included running an animation project in regional Primary schools. Emma widened her experience to include AS and A2 teaching in a further two schools before joining Film Education in 2007. In her current role she authors content for educational resources in a variety of formats, as well as delivering training. She also has special responsibility for a project on intellectual property protection for which she has produced a series of resources.
Archive & Documentary
In this workshop, delegates researched, planned and created a short documentary, exploring how editing, sound and image can affect textual meaning through an exercise using a range of archive film, music and sounds effects in a simple editing interface.
Documentaries and archive materials are not just from and about the ancient past. We are creating and participating in documentaries and archives all the time and perhaps never more so than in the digital age with the pervasive nature of sound and image recording and playback devices. How are we to make sense of this world and navigate this sea of information? This workshop considered what critical skills teachers and learners might need to deploy in negotiating these assets and applying them to make successful documentaries.
Jane is Director of Digital Media at Film Education, responsible for developing and producing many of the company's award-winning multimedia resources, often in collaboration with partner organisations. She has directed and produced television series for Channel Four and the BBC and also works as a trainer and workshop leader with particular reference to the moving image and media literacy. As a freelancer, Jane has worked on video projects with Ken Loach and for Carlton Television. Prior to this, she worked in the music industry. Jane recently completed an MA Digital Media at University of Sussex, producing a dissertation on creativity and the Creative Industries. She is currently interested in developing projects on digital literacies.
Picturacy® Film Narrative and The Primary Framework
Film is embedded in the new Primary® Framework for Literacy where emphasis is placed on visual literacy and on-screen texts. Film Education’s Picturacy™ series takes the ‘word, sentence, text’ approach to literacy further by exploring the relationship between shot, sequence and text on film.
In this workshop, useful for Primary sector professionals and those who are interested in progression models for visual literacy work, key film language concepts such as sound, light, colour and editing were explored showing how film can help children develop a greater understanding of narrative structure and representation of character. All this leading to raised standards in reading and writing. The resource functionality enables teachers to incorporate the resource into their personalised learning plans. Delegates worked on laptops to interactively analyse film extracts, create their own sound effects and still photography.
Julie Green is an Educational Consultant for Film Education and a practising Primary school teacher. She has written widely on film and moving image education, specialising in developing visual literacy resources in the Primary sector.
Having spent many years as Director of Education at Film Education, Julie took time out to raise her young family, and she now divides her time between her teaching job in Henley-on-Thames and her post as advisor at Film Education. Luckily, the two roles complement each other.
Julie is responsible for developing Film Education’s Primary Picturacy® series, that focuses on film and moving image work on an Interactive Whiteboard platform.
This workshop considered a variety of inventive ways of approaching critical analysis in the secondary curriculum.
Looking at poems, paintings, adverts and music videos, the aim was to provide teaching approaches which help students gain a fuller understanding of how meaning is created in a variety of art forms through interactive textploration. Drawing on various conceptual frameworks, including semiotics, Media Studies and Art and Design references, delegates explored the interplay between words, images and sounds.
Martin Phillips was Director of the DCS Digital Media Education Team; He has also been Chief Moderator for A/AS Level Media Studies and is currently an Assistant Principal Moderator for AQA GCSE English. He has written a variety of books and articles on English and Media Studies teaching, most recently GCSE Media Studies for Heinemann (2004). Martin has directed more than forty video/DVD resources for secondary schools on Media Studies and Art.