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Photography as Communication
Study Course Description
Course Description Statuss:Approved
Course Description Version:8.00
Study Course Accepted:12.08.2024 08:56:58
| Study Course Information | |||||||||
| Course Code: | KSK_087 | LQF level: | Level 6 | ||||||
| Credit Points: | 2.00 | ECTS: | 3.00 | ||||||
| Branch of Science: | Communication Sciences | Target Audience: | Information and Communication Science; Communication Science | ||||||
| Study Course Supervisor | |||||||||
| Course Supervisor: | Alnis Stakle | ||||||||
| Study Course Implementer | |||||||||
| Structural Unit: | Faculty of Social Sciences | ||||||||
| The Head of Structural Unit: | |||||||||
| Contacts: | Dzirciema street 16, Rīga, szf rsu[pnkts]lv | ||||||||
| Study Course Planning | |||||||||
| Full-Time - Semester No.1 | |||||||||
| Lectures (count) | 8 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 16 | ||||
| Classes (count) | 4 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 8 | ||||
| Total Contact Hours | 24 | ||||||||
| Part-Time - Semester No.1 | |||||||||
| Lectures (count) | 5 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 10 | ||||
| Classes (count) | 3 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 6 | ||||
| Total Contact Hours | 16 | ||||||||
| Study course description | |||||||||
| Preliminary Knowledge: | Not required. | ||||||||
| Objective: | To promote the upgrade of students’ professional competence, which is characterised by the ability to autonomously evaluate, critically discuss and construct messages based on the tradition of the medium of photograph, being aware of historical development and contemporary diversity of photography. Students should learn, evaluate and confirm their knowledge about the constructed nature of messages based on the medium of photography and regularities of their use. Students should certify their understanding of the medium of photography as a part of communication in society, analytically describing and creatively constructing information, problems and creative solutions in photography. Students should professionally implement their project in photography based on communicative aspects of the medium of photography. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introduction to course content. Photography and photo journalism: origin and definitions. | Lectures | 1.00 | auditorium | |||||
| 2 | Development and boom of photography. | Lectures | 2.00 | auditorium | |||||
| 3 | Discussion and planning of the creation of a series of photographs based on the tradition of documentary photography (all home assignments should be included in the student’s professional blog). | Classes | 1.00 | auditorium | |||||
| 4 | Subject as an object: photography and human body (practical home assignment on the portrayal of the human body). | Lectures | 1.00 | auditorium | |||||
| 5 | Assessment of the home assignment based on the tradition of documentary photography | Classes | 1.00 | auditorium | |||||
| 6 | Transformation of media photography in the age of digital display. | Lectures | 1.00 | auditorium | |||||
| 7 | Photography in contemporary art. | Lectures | 1.00 | auditorium | |||||
| 8 | Discussion on practical home assignment (the portrayal of the human body). | Classes | 1.00 | auditorium | |||||
| 9 | Photographer’s “survival kit” – links between commercial, documentary and art photography and a photographer as a provider of services nowadays | Lectures | 2.00 | auditorium | |||||
| 10 | Discussion on views of S. Sontag, L. Manovich and A. Cramerotti. | Classes | 1.00 | auditorium | |||||
| Topic Layout (Part-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introduction to course content. Photography and photo journalism: origin and definitions. | Lectures | 0.50 | auditorium | |||||
| 2 | Development and boom of photography. | Lectures | 1.00 | auditorium | |||||
| 3 | Discussion and planning of the creation of a series of photographs based on the tradition of documentary photography (all home assignments should be included in the student’s professional blog). | Classes | 1.00 | auditorium | |||||
| 4 | Subject as an object: photography and human body (practical home assignment on the portrayal of the human body). | Lectures | 1.00 | auditorium | |||||
| 5 | Assessment of the home assignment based on the tradition of documentary photography | Classes | 0.50 | auditorium | |||||
| 6 | Transformation of media photography in the age of digital display. | Lectures | 0.50 | auditorium | |||||
| 7 | Photography in contemporary art. | Lectures | 1.00 | auditorium | |||||
| 8 | Discussion on practical home assignment (the portrayal of the human body). | Classes | 0.50 | auditorium | |||||
| 9 | Photographer’s “survival kit” – links between commercial, documentary and art photography and a photographer as a provider of services nowadays | Lectures | 1.00 | auditorium | |||||
| 10 | Discussion on views of S. Sontag, L. Manovich and A. Cramerotti. | Classes | 1.00 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | During the semester the student reads recommended readings and internet sources. Students should share the existing and obtained knowledge among themselves during lectures, during discussions outside lectures, thus developing their own and joint knowledge about the medium of photography. Students should read at least 300 pages of text from required readings. In order to evaluate the quality of the study course as a whole, the student must fill out the study course evaluation questionnaire on the Student Portal. | ||||||||
| Assessment Criteria: | The availability of all practical works and successful participation in seminars. One documentary photo story should be created during the course. Assessments ‘excellent’ and ‘with distinction’ may be obtained only for examination works, which are classified for professional media use, as well as evidence of profound understanding of the medium of photography. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | Exam (Written) | ||||||||
| Learning Outcomes | |||||||||
| Knowledge: | Will name and characterise the main stages and drivers of the development of photography. Will describe theoretical approaches and the main authors of photography. Will describe the impact of photography on society. Will explain communicative properties of photography. | ||||||||
| Skills: | Will be able to recognise main paradigms and types of messages of photography. Will be able to evaluate a message of photography. | ||||||||
| Competencies: | Will be able to critically analyse the messages and aesthetic qualities encoded in the photography language. Will be able to interpret regularities in photography communication. Will be able to autonomously lead and produce a creative photo story for the needs of photo journalism and business. | ||||||||
| Bibliography | |||||||||
| No. | Reference | ||||||||
| Required Reading | |||||||||
| 1 | Badger, G. (2000). The Art that Hides Itself - Notes on Photographys Quiet Genius in How You Look At It. (pp. 61 – 81) NY: D.A.P., Inc. | ||||||||
| 2 | Barett, T. (1990). Criticizing Photographs: an introduction to understading images. California. Mayfield Pubishing Company. | ||||||||
| 3 | Bate, D. (2009). Photography: Key Concepts. Oxford & New York: Berg | ||||||||
| 4 | Benjamins, V. (2005). Iluminācijas. Riga: Laikmetīgās mākslas centrs. | ||||||||
| 5 | Doy, G. (2005). Picturing the self: Changing views of the subject in visual culture. London: I.B. Taurus & Co Ltd. | ||||||||
| 6 | Flusser, V (2005). Towards A Philosophy of Photography. London: Reaktion Books Ltd. | ||||||||
| 7 | Jeffrey, I. (1999). Revisions: An alternative history of photography. Bradford, England: National Museum of Photography, Film & Television. | ||||||||
| 8 | Liesbrock H. (2000). The Barely Visible Perspectives on Reality in Photography and Painting in How You Look At It. (pp. 39 - 59) NY: D.A.P. | ||||||||
| 9 | Roland, B. (1980). Mythologies, London: Paladin. | ||||||||
| 10 | Rolāns, B. (2006). Camera lucida. Piezīme par fotografiju. Rīga: Laikmetīgās mākslas centrs. | ||||||||
| 11 | Sonesson G. (2000). Post-photography and beyond: From mechanical reproduction to digital production. Lund University. | ||||||||
| 12 | Wells L. (ed) (2004). Photography: a critical introduction. London & New York. Routledge. | ||||||||
| 13 | Weski T. (2000). No Scrawling, Scratching, and Scribbling on the Plate in How You Look At It. (pp. 19 - 37) NY: D.A.P. | ||||||||
| 14 | Zontāga, S. (2008). Par fotogrāfiju. Riga: Laikmetīgās mākslas centrs. | ||||||||
| Additional Reading | |||||||||
| 1 | Bodrijārs, Ž. (2000). Simulakri un simulācija. Rīga: Omnia Mea. | ||||||||
| 2 | Liotārs, F. (2008).Riga: Laikmetīgās mākslas centrs. | ||||||||
| 3 | Lury C. (1998). Proesthetic Culture: Photography, memory and identity. London: Routledge (pp. 134 - 183) | ||||||||
| 4 | Manovičs, L. (2006). Jauno mediju valoda. Rīga: Jauno mediju kultūras centrs RIXC. 5. 5. 5. McLuhan, M. (1964). Understanding media. New York: Signet Books. | ||||||||
| 5 | McLuhan, M. & Fiore, Q. (1967). The medium is the message. Singapore: HardWired. | ||||||||
| 6 | David L, S. (2020). Photography and Belief New York, New York: David Zwirner Books | ||||||||
| 7 | Mark Sealy Chadwell Heath (2022). Photography: race, rights and representation: Lawrence and Wishart Ltd. | ||||||||
| 8 | Mark Sealy (2019). Decolonising the Camera: photography in racial time, London: Lawrence & Wishart Ltd. | ||||||||
| 9 | Sunil Gupta (2022). We Were Here: sexuality, photography, and cultural difference, New York: Aperture Foundation. | ||||||||
| Other Information Sources | |||||||||
| 1 | Dokumentālās filmas: | ||||||||
| 2 | American Photography: A Century of Images, 1999 Contacts I, II, III, 2005 | ||||||||
| 3 | Dying to tell the Story, 1998 | ||||||||
| 4 | Genius of photography 1-6, BBC | ||||||||
| 5 | Moment of Impact, 1999 Reporters, 1981 | ||||||||
| 6 | The Impassioned Eye, 2003 War Photographer, 2001 | ||||||||
| 7 | Mākslas filmas | ||||||||
| 8 | Blowup, 1966 | ||||||||
| 9 | City of God, 2002 | ||||||||
| 10 | Rear Window, 1954 Salvador, 1986 | ||||||||
| 11 | The Killing Fields, 1984 The Public Eye, 1992 | ||||||||
| 12 | Tiešsaistē pieejamie resursi | ||||||||
| 13 | A Search Into the Future of Photography | ||||||||
| 14 | American Suburb X | ||||||||
| 15 | Aperture | ||||||||
| 16 | Blind Spot | ||||||||
| 17 | BW Magazine | ||||||||
| 18 | CameraArts Magazin. DoubleTake www.doubletakemagazine.org | ||||||||
| 19 | European Photography. EYEMAZING www.eyemazing.com | ||||||||
| 20 | Foto-Video | ||||||||
| 21 | foto8e | ||||||||
| 22 | LensWork | ||||||||
| 23 | Kwartalnik Fotografia | ||||||||
| 24 | Next Level | ||||||||
| 25 | Private | ||||||||
| 26 | Source | ||||||||
| 27 | Editorial Photographers | ||||||||
| 28 | Fotokvartals | ||||||||
| 29 | Lens | ||||||||
| 30 | Magnum | ||||||||
| 31 | Photographer | ||||||||
| 32 | The Digital Journalist | ||||||||
| 33 | The Photographic Universe Conference. World Press Photo http://www.worldpressphoto.org | ||||||||
| 34 | Zone Zero. | ||||||||
