X hits on this document

97 views

0 shares

0 downloads

0 comments

6 / 41

Photographic and Digital Media Years 7–10: Advice on Programming and Assessment

2Establishing a Scope and Sequence Plan

When planning teaching, learning and assessment activities it is important to consider how content and key concepts can be introduced and built on within a stage.

The following examples of scope and sequence provide ways in which teachers may consider content and key concepts. The frames are used to position investigations of content and to provide a focus for the investigation of meaning and significance in the field of photographic and digital media.

Practice

Students are provided with opportunities to build on the knowledge and understanding of practice, the conceptual framework and the frames established in the Visual Arts mandatory course. They undertake a more specialised investigation of the conventions, strategies and procedures of making photographic and digital works in at least one of the areas of still, interactive and moving forms.

Students may have been introduced to some of the conventions and traditions of practice in photographic and digital media in the Visual Arts mandatory course. In this course, students begin to undertake more sustained and autonomous investigations of particular photographic and digital media conventions, strategies and procedures through a broad or specialised investigation of still, interactive and moving forms, and work towards a portfolio.

For other students, this Stage 5 course will introduce the traditions and conventions of practice in photographic and digital media through a broad or specialised investigation of still, interactive and moving forms. Students can investigate how practice in the field of photographic and digital media is shaped by values and beliefs about the individual, social structures, the artworld and power. Students begin to make decisions about how to apply aspects of practice to making photographic and digital works to represent their intentions and communicate meanings.

In critical and historical interpretations students are provided with opportunities to investigate how and why artists as photographers, videographers, computer/digital artists, filmmakers and performance artists make photographic and digital works, and how and why historians and critics write about photographic and digital works.

Students learn to construct written interpretations, explanations and judgements about photographers, videographers, computer/digital artists, filmmakers and performance artists and the meaning of photographic and digital works from different points of view.

They investigate what shapes or conditions different artists’ and photographic digital media practices, and learn to explain their significance by referencing different critical and historical accounts.

Conceptual Framework

In making and critical and historical interpretations of photographic and digital works students explore aspects of the conceptual framework to understand the relationships between the artist as photographer, videographer, computer/digital artist, filmmaker and performance artist, artworks, the world and audiences. Across the stage students can explore different

6

Document info
Document views97
Page views97
Page last viewedThu Dec 08 16:49:44 UTC 2016
Pages41
Paragraphs1397
Words17099

Comments