By John P. O'Neill, Ellen Shultz
Booklet through O'Neill, John P.
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Extra info for Masterworks from the Musee Des Beaux-Arts, Lille
All rubbish. Excuse me – I haven’t asked you yet. All right, Joshua and Harry – What did you come up with? They need somewhere else to dump the rubbish. They – the humans – want somewhere else to dump the rubbish; so they’re moving onto the fresh pond? OK. What do you think Ted? ’ I had that problem too. I was asking the question, but the answer I got wasn’t always the answer to the question. They’re not thinking about the author. We know that this is coming along to wreck the pond – we know that!
You also have to design your sets and paint them or maybe glue stuff to them. Some children last year got sand out of the sand pit and glued the sand to the bottom to make it look like a path. It was fantastic! They got real leaves out of the garden, and attached it to big plasticine, um brown trunks to make trees. You can see them when I show you the movies – really fantastic ideas! The production part of it means you’re going to be filming it with a digital camera. Then you need to decide which person’s going to be the photographer.
The teacher had observed the need for the students to develop sophisticated plots in their compositions and storyboards. There was a need for multiple complications that build towards a climax and resolution of their tales. The teacher provided examples of audio design elements that could function to create a climax of a movie – ‘It could be the music’. She also demonstrated how linguistic meanings could be used to create tension in written narratives – ‘It could be words like “suddenly”’. Through this dialogue, the students were prompted to analyse functionally the multimodal elements of a mature narrative text and relate this new knowledge to their own designs.
Masterworks from the Musee Des Beaux-Arts, Lille by John P. O'Neill, Ellen Shultz