20 credits at level HE4
The aim of this module is to enable the student to develop a critical understanding of the visual world they are entering into.
This will be achieved through ongoing presentations into the significant work of photographers (and associated practitioners within film and fine arts) over the past eighty or so years. Though within this the module will largely concentrate on contemporary work and issues from the 1960’s onwards.
This module is not a history of photography per se, though the student will by association gain a greater understanding of its historical development, but rather an opportunity to view, discuss and critically analyse work from all genres within the medium.
The classes will be lecture based and structured around the presentation of visual imagery and will involve viewing feature length movies (or parts thereof) and examining photography from the same period and genre and through the process of discussion and deconstruction come to a greater understanding of the visual and social context within which the work(s) were produced.
When possible (depending on what’s on and where) gallery visits will be arranged to view the work of practitioners at first hand.
This experience will be further enhanced through lectures/presentations by professional critically engaged photographers regarding their practice and careers.
Syllabus content to include:
Lecture Headings include:
Constructed Images 1 Inc Pfahl, Colvin, O’Donnell, Crewdson, Wall, Tress.
Constructed Images 2 Inc Krims, Sherman, Spence.
Looking at the Self Inc Tillmans, Carruci, Billingham, Day.
War Photography Inc McCullin, Capa, Natcheway, Burrows, Fenton.
Looking at Death Inc Coe, Serrano, McCullin.
Documentary and the subjective image Inc Lange, Evans, Frank, Clark, Parr.
Sensationalism and controversy Inc Mapplethorpe, Serrano, Tillmans, Newton.
Looking at Celebrity Inc Baily, Newton, Corbijn.
Contemporary colour. Three photographers, Eggleston, Tillmans, Fraser.
Lectures conducted as Power Point presentations with additional support through video and DVD presentations.
As part of the module a number of things are expected of the students:
• That they will to take part in all class discussions. It is emphasised that their views and how they express them are a big part of their ongoing development as thinking practitioners and is a major element within the class structure. A major element within this will be on ongoing development of a research culture through the production of a research journal containing information gathered from the lectures with additional materials gathered through student’s individual research.
• Students will be expected to produce and deliver an in-depth presentation of approximately 20 minutes on two practitioners of their choice. These could be photographers, filmmakers, fine artists (or whatever combination best suits whilst remaining within the general parameters of photographic practice) whose work and careers can be presented to the group. These could present two wildly different approaches or two practitioners whose work complements each other. The presentation can involve the use of Power Point, video or whatever is most appropriate.
• Students will be expected to produce an essay of approximately 2000 words (this can be related to the presentation though by necessity of greater depth and different stylistic approach). Within this all references will need to be clearly acknowledged and a thoroughly developed research journal will be produced in conjunction with said essay.
when you have successfully completed this module you will:
to demonstrate that you have achieved the learning outcome you will:
|1.||Be aware of and be able to critically engage in discussion on significant movements, debates and practitioners within photography||
Having successfully completed the module the student will have produced a research journal linking all aspects of lecture programme with additional research elements clearly demonstrating individual research and analysis.
Undertaken a presentation to the group using Power Point that demonstrates an ability to organise and deliver a critical evaluation on the work of two or more practitioners within the area of photography.
To have produced an essay that further demonstrates an ability to critically evaluate, explore and engage with the work of significant practitioners or genres within photography.
|2.||Have gained a greater understanding of the history of photography and the role photography has played in depicting the changes in society|
|3.||Be aware of photography’s influence on the wider art world and visa versa|
|4.||Be able to demonstrate an understanding and awareness of current debates within photography.|
Your achievement of the learning outcomes for this module will be tested as follows:
There are no prerequisites for this module.
No restrictions apply.
Barthes, Rolande (1982) Camera Lucida. London: Vintage Classics.
Bolton, Richard (1992) The Contest of Meaning, Critical Histories of Photography. Mass: MIT Press.
Diamondstein, Barbaralee (1982) Visions and Images: Photographers on Photography. London: Travelling Light.
Dyer, Geoff (2005) The Ongoing Moment. London: Little Brown.
Grundberg, Andy (1990) Crisis of the Real. Writings on Photography, 1974-1989. New York: Aperture.
Johnson, B. (2004) Photography Speaks/150 Photographers on their Art. New York: Aperture.
Jussim, Estelle (1989) The Eternal Moment, Essays on the Photographic image. New York: Aperture.
Shore, Stephen (1998) The Nature of Photographs. New York: Johns Hopkins Press.
Sontag, Susan (1978) On Photography. London: Penguin.
Spence, Jo (1995) Cultural Sniping. New York: Routledge.
Szarkowski, John (1978) Mirrors and Windows. American Photography since 1960. New York: MOMA .
Trachtenberg, A. (Ed) (1980) Classic Essays on Photography. U.S: Leetes Island Books, Inc.
Films referenced or discussed in context of presentations include:
Antonioni, Michaelangelo. (1966) Blow Up
Coen, Joel & Ethan. (2000) Oh Brother Where Art Thou
Coppola, Francis Ford. (1979) Apocalypse Now
Fawcett, John. (2001) Ginger Snaps
Ford, John. (1940) The Grapes of Wrath
Frei, Christian. (2001) War Photographer (on James Natcheway)
Greenaway, Peter. (1985) A Zed and two Noughts (ZOO)
Jarman, Derek. (1993) Blue
Jeunet and Caro. (1991) Delicatessen
Jeunet and Caro. (1995) City of Lost Children
Spielberg, Stephen. (1977) Close Encounters of the Third Kind
Spielberg, Stephen. (1998) Saving Private Ryan
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