#workshop 7

Metric Montage

Metric Montage is cuts scene at the beat. In Karate Kid 2, the scene cuts every few seconds when the fighter and his opponent lay a blow. The main focus is positioned back on the two fighters until a next punch/kick is thrown.

Rhythmic Montage

Rhythmic Montage revolves around the rhythm of the action in the shot. In horror films or military films this can be commonly seen. For example, in rhythm of soldiers marching through a town or battlefield can be seen in the likes of Hunger Games. Like metric montage that cuts on the beat of the scene, rhythmic cuts on the tempo of the marching soldiers.

Tonal Montage

Tonal Montage revolve around the tone of each shot, it uses emotional meaning. An example of would be a shot of a child sleeping calmly or the execution of a prisoner.

Over-Tonal Montage

Over-Tonal Montage is a combination of metric, rhythmic and tonal montages. Over-tonal montage uses pace, ideas and emotion to create an effect onto the audience. An example of over-tonal would be a woman taking a shower, cutting through shot from when she’s showering to the shower head then back to her and the rhythmic of the killer creeping towards the shower as he comes to kill her.

Intellectual Montage

In workshop 7, the main focus was montage editing. Montage Editing is a collection of scene layout out to portray a story to the audience. In montage editing there’s four types were discussed within the workshop, analytical, idea associative, comparison and collision montage.

Analytical Montage

Analytical Montage is where the audience analyses the scenes to determine the outcome of a next one. Analytical Montage consists of subdivision like Sequential, Cause to Effect Order, Sectional Order, etc. Sequential Montage is where the sequence of the film isn’t display on screen but is left for the audience to determine. For example, a boy riding a bike, then riding down a hill, then he falls down, and people surrounding him.

Idea Associative Montage

Idea Associative Montage is where two things that are contrast are combined to give off an idea to the audience. For example, in the idea associative montage the group film a shot of an actor lying on the ground and a car driving off. This gives up to the audience that the reason the guy is lying on the ground is because he was ran over by the car that’s driving off.

Comparison Montage

Comparison Montage is comparing two things. In the development of the film, we compared the likes of a good pianist to a novice pianist.

Collision Montage

Collision Montage is comparing two things but more to give off a meaning. For example, a person who loiters and someone that’s eco-friendly when throwing away rubbish.

Montage Editing

Personal Response: I thoroughly enjoyed the experience of working with friends, creating artworks with materials I had never worked with previously and being outside in the sunshine. I realised during the practical activity that when we work in teams we each bring our own skills and viewpoints to the experience. This is extremely beneficial to the creative process which requires problem solving and being able to adapt to situations. Our whole team which included my friend, Abigail, an exchange student, Katri from the University of Lapland, and myself, would not have gone on the same artistic 'journey' if we had completed the task individually. Instead, we needed to work together to bind the willow and make decisions. This made it a valuable and enjoyable experience. 

Child's Perspective: I am sure that pupils would enjoy experiencing environmental art for the following reasons: 

- The opportunity to work with peers. 

- There is no set answer, which radiates a sense of freedom.

- Working in an external environment - especially if the weather is nice!

- Experiment with hands on materials.

There are many advantages of taking learning outdoors. Learning and Teaching Scotland record a quote from a Principal Teacher of art and design (2010, p.19):

‘I enjoy seeing students outside of the classroom doing something which I know is within their capacity but which is perhaps outside of their previous experience . . . people who might excel in the classroom find themselves outside of their comfort zones on a much more level playing field, and pupils who can be ‘invisible’ in school can find their own feet, and sometimes take the lead.’ This highlights the educational benefits which the pupils would enjoy from working outdoors.   

Educator's Perspective: A key fact which I learned from our lecturer this session was to ensure that there is always a problem at the centre of your art lesson planner. Problem solving is at the core of art and design and encourages active enquiry and hence develops enquiry based learning. We were also encouraged to set artistic design challenges in the future instead of setting it to the confines of problems which have already been solved. Furthermore, we were encouraged to reflect upon our experience of creating environmental art and to pinpoint which areas of the curriculum had been addressed. 

Abigail and myself thought that the following learning intentions could have been applicable: 

L1: Pupils can work collaboratively to make decisions and create a piece of 3-dimensional art. 

L2: Pupils can adapt their ideas and structure as it progresses (trial and error). 

Upon reflection, the following CfE outcomes could be applied and adapted:

I have the opportunity to choose and explore an extended range of media and technologies to create images and objects, comparing and combining them for specific tasks. EXA 2-02a

I can use exploration and imagination to solve design problems related to real-life situations. EXA 1-06a

I can develop and communicate my ideas, demonstrating imagination and presenting at least one possible solution to a design problem. EXA 2-06a

When I engage with others, I know when and how to listen, when to talk, how much to say, when to ask questions and how to respond with respect. LIT 1-02a

I explore materials, tools and software to discover what they can do and how I can use them to help solve problems and construct 3D objects which may have moving parts. TCH 1-12a

 REFERENCES

Learning and Teaching Scotland (2010) Curriculum for Excellence Through Outdoor Learning. [ONLINE] Available at: