US_115b Photography: the modern media - variants and roles II.

Faculty of Arts
Spring 2013
Extent and Intensity
2/0. 3 credit(s). Type of Completion: k (colloquium).
Teacher(s)
Mgr. Jiří Pátek (lecturer), PhDr. Aleš Filip, Ph.D. (deputy)
Guaranteed by
PhDr. Dagmar Koudelková
Department of Musicology – Faculty of Arts
Contact Person: Vlasta Taranzová
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Wed 9:10–10:45 pracovna
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 85 student(s).
Current registration and enrolment status: enrolled: 0/85, only registered: 0/85, only registered with preference (fields directly associated with the programme): 0/85
fields of study / plans the course is directly associated with
Course objectives
This course is a continuation of Photography: Forms and roles of the modern medium I. It expands its focus from the local to the international context and in comparison focuses more on the functional photography. Having completed Course I is an advantage but not a necessity to understand new material in Course II. General objective of this course is mutual confrontation of the fine art and practical aspect of photography. Students will learn how photography works within the museum practice. They will also study the essentials of administrative work necessary for the acceptance and relocation of photographs within an institution during national and international exhibitions. This course includes also particular exhibition visits and theoretical and practical assignments related to the issues of the gallery business. Students will realize that the photography medium is so complex that it would be artificial to strictly categorize its forms and functions as fine art and functional photography. Students will learn how definite or on the contrary ambiguous the medium of photography can be in the field of: crime investigations, medicine, exact sciences and humanities or advertising and political propaganda. In this course various types of photography and its applications within art will be introduced (pictorial photography, avant-garde between the wars, conceptual photography etc.) Students will be presented various forms of photography education and its relations to politics, considering our perception of the potential of the photography medium. Regarding theory, based on critical analyses, students will understand the relationships of terms, concepts and ideological movements which are dominating the discourse of photography at the moment (visual studies, modernism, postmodernism, history of culture). The acquired knowledge will guide students to understanding photography as a complex medium which has formed the mentality of our civilization during its short history and applications within art, science and public spaces.
Syllabus
  • 1. Photography as a museum artifact. Formal and administrative processes related to the start and existence of photography as an art object. (From the acquisition purpose and buying commission to inventory and depository of photographs) 2. Exhibiting photographs. Formal, practical and theoretical questions regarding exhibiting photography. (Signing a contract, insurance, transportation, theoretical concepts of presentation of photographs) 3. Photography as means of depiction and classification of an individual. Photography as means of social monitoring and repression. Louis Alphonse Bertillon, Henry Havelock Ellis, Francis Galton, Cesare Lombrozo 4. Photography as means of identifying human body. (Eadweard Muybridge, Étienenm-Jules Marey, Jean-Martin Charcot, Gulliaume-Benjamin Duchenne de Boulogne) 5. The power of image. Photography as a printed medium. Photographic image in the context of e.g. picture magazines (Stefan Lorant, Willi Münzenberg and their Trust) 6. Photography as an agent of social changes. (Thomas Annan, Glasgow City Improvement Trust, Jacob Riis, How the Other Half Lives, Lewis W. Hine, National Child Labor Committee, FSA, Photo League, Social (working class) movement in photography, Sociofoto) 7. Photography as Art. Ideological and theoretical background, aesthetics and organization process of art photography movement (Pictorialism).( Linked Ring Brotherhood, Photo-Secession New York, Trifollium Vienna, Peter Henry Emerson a Naturalistic Photography, Alfred Lichtwark and Hamburg’s Kunsthalle) 8. Photography and modernity. Ideological and theoretical photography background between two wars and its reception in the USA. (Lászlo Moholy-Nagy and Bauhaus, Alexandr Rodcenko and Productivism, VChUTEMAS, Harry Callahan, Aaron Siskind Institute of Design, Chicago) 9. Photography and ideologies. Functions of photographic realism for totalitarian social visions. (Blut und Boden, Sorela, New photography) 10. Subjective Photography – extended modernism. (Otto Steinert and exhibitions of Subjective photography, Folkswangschule Essen, Fotoform group) 11. Postmodern turning point. Photography as an ideology, tool, inspiration. Analysis of traditional principles of photography through the conceptual project related to photography. (Pop-art, American conceptual art, Hyperrealism, Dead-pan photography, Düsseldorf school) 12. Postmodern turning point. Photography as an ideology, tool, stimulus. Analysis of traditional concept of an artist. (appropriation, copy, replica, remix)
Teaching methods
Lectures, discussions, demos
Assessment methods
writing test
Language of instruction
Czech
Further comments (probably available only in Czech)
Study Materials
The course is taught only once.
The course is also listed under the following terms Spring 2015, Spring 2017.
  • Enrolment Statistics (Spring 2013, recent)
  • Permalink: https://is.muni.cz/course/phil/spring2013/US_115b