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Photography as Communication
Study Course Description
Course Description Statuss:Approved
Course Description Version:7.00
Study Course Accepted:12.08.2024 09:01:45
| Study Course Information | |||||||||
| Course Code: | KSK_262 | LQF level: | Level 6 | ||||||
| Credit Points: | 3.00 | ECTS: | 4.50 | ||||||
| Branch of Science: | Communication Sciences | Target Audience: | 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: | None. | ||||||||
| Objective: | To promote an improvement of professional competence of students, which is characterised by the ability to autonomously evaluate, critically discuss and construct messages based on the photography 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 in their use. Students should certify their understanding of photography media 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 photography media. | ||||||||
| 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 in the student’s professional blog). | Classes | 1.00 | auditorium | |||||
| 4 | Subject as an object: photography and human body (practical home assignment on display of human body). | Lectures | 1.00 | auditorium | |||||
| 5 | Documentary photography tradition based assessment of the home assignment. | 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 (display of human body). | Classes | 1.00 | auditorium | |||||
| 9 | Photographer’s “survival kit” – link of commercial, documentary and art photography and a photograph as a provider of services | 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 in the student’s professional blog). | Classes | 1.00 | auditorium | |||||
| 4 | Subject as an object: photography and human body (practical home assignment on display of human body). | Lectures | 1.00 | auditorium | |||||
| 5 | Documentary photography tradition based assessment of the home assignment. | 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 (display of human body). | Classes | 0.50 | auditorium | |||||
| 9 | Photographer’s “survival kit” – link of commercial, documentary and art photography and a photograph as a provider of services | 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 existing and obtained knowledge among themselves during lectures, during discussions outside lectures, thus developing their own and joint knowledge about photography media. Students should read at least 300 pages of text from required readings. | ||||||||
| Assessment Criteria: | All practical works performed 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 photography media. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | Exam (Written) | ||||||||
| Learning Outcomes | |||||||||
| Knowledge: | After mastering the course students: • will name and characterise the main stages and drivers of development of photography; • will tell about theoretical approaches and main authors of photography; • will describe the impact of photography on society; • will explain communicative properties of photography. | ||||||||
| Skills: | After mastering the course students: • will recognise main paradigms and types of messages of photography; • will evaluate a message of photography. | ||||||||
| Competencies: | Students are able to critically analyse the messages and aesthetic qualities encoded in the photography language; able to interpret regularities in photography communication; are 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. | ||||||||
| Other Information Sources | |||||||||
| 1 | American Photography: A Century of Images, 1999 Contacts I, II, III, 2005 | ||||||||
| 2 | Dying to tell the Story, 1998 | ||||||||
| 3 | Genius of photography 1-6, BBC | ||||||||
| 4 | Moment of Impact, 1999 Reporters, 1981 | ||||||||
| 5 | The Impassioned Eye, 2003 War Photographer, 2001 | ||||||||
| 6 | Mākslas filmas | ||||||||
| 7 | Blowup, 1966 | ||||||||
| 8 | City of God, 2002 | ||||||||
| 9 | Rear Window, 1954 Salvador, 1986 | ||||||||
| 10 | The Killing Fields, 1984 The Public Eye, 1992 | ||||||||
| 11 | American Suburb X www.americansuburbx.com | ||||||||
| 12 | Aperture www.aperture.org | ||||||||
| 13 | BW Magazine www.bandwmag.com | ||||||||
| 14 | CameraArts Magazine www.cameraarts.com DoubleTake www.doubletakemagazine.org | ||||||||
| 15 | LensWork www.lenswork.com | ||||||||
| 16 | Source www.source.ie | ||||||||
| 17 | Magnum www.magnumphotos.com | ||||||||
| 18 | Photographer.ru www.photographer.ru | ||||||||
| 19 | The Digital Journalist http://digitaljournalist.org | ||||||||
