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Advertising Photography
Study Course Description
Course Description Statuss:Approved
Course Description Version:8.00
Study Course Accepted:02.02.2024 12:26:15
| Study Course Information | |||||||||
| Course Code: | KSK_026 | LQF level: | Level 6 | ||||||
| Credit Points: | 2.00 | ECTS: | 3.00 | ||||||
| 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) | 6 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 12 | ||||
| Classes (count) | 4 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 8 | ||||
| Total Contact Hours | 20 | ||||||||
| 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 in professional competence of students, which is characterised by the ability to autonomously evaluate, critically discuss and construct advertising photographs, being aware of historical development and contemporary diversity of advertising photography. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introduction to the study course topic: theory of photography and advertising photography. | Lectures | 1.00 | auditorium | |||||
| 2 | Reality and phantasy in early advertising photography. | Lectures | 1.00 | auditorium | |||||
| 3 | Discussion on ideas for students’ personal advertising projects. | Classes | 1.00 | auditorium | |||||
| 4 | Depicting of objects in advertising photography. | Lectures | 1.00 | auditorium | |||||
| 5 | Discussion on the first performed home assignment (subject in advertising). | Classes | 1.00 | auditorium | |||||
| 6 | Human body in advertising photography. | Lectures | 1.00 | auditorium | |||||
| 7 | Contemporary trends in aesthetics of advertising photography. | Lectures | 1.00 | auditorium | |||||
| 8 | Discussion on the second home assignment (use of body in advertising ideas). | Classes | 1.00 | auditorium | |||||
| 9 | Advertising photography as a collectively created product. | Lectures | 1.00 | auditorium | |||||
| 10 | Discussion on latest trends in advertising photography based on readings. | Classes | 1.00 | auditorium | |||||
| Topic Layout (Part-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introduction to the study course topic: theory of photography and advertising photography. | Lectures | 1.00 | auditorium | |||||
| 2 | Reality and phantasy in early advertising photography. | Lectures | 0.50 | auditorium | |||||
| 3 | Discussion on ideas for students’ personal advertising projects. | Classes | 1.00 | auditorium | |||||
| 4 | Depicting of objects in advertising photography. | Lectures | 0.50 | auditorium | |||||
| 5 | Discussion on the first performed home assignment (subject in advertising). | Classes | 1.00 | auditorium | |||||
| 6 | Human body in advertising photography. | Lectures | 1.00 | auditorium | |||||
| 7 | Contemporary trends in aesthetics of advertising photography. | Lectures | 1.00 | auditorium | |||||
| 8 | Discussion on the second home assignment (use of body in advertising ideas). | Classes | 0.50 | auditorium | |||||
| 9 | Advertising photography as a collectively created product. | Lectures | 1.00 | auditorium | |||||
| 10 | Discussion on latest trends in advertising photography based on readings. | Classes | 0.50 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | The portfolio to be submitted for assessment consists of: • Series of architectural works – one building or conceptually related architectural object should be selected and photographed using the same style. Works should show an object in a landscape, its details and interiors. Works should be implemented in an aesthetically same style (composition, camera angles, colour set design). Scope of completed series from 8 to 15 works. • Still life in advertising – specific products and specific concept/idea should be selected, which should be depicted using objects. The goal of work may be advertising of some specific product or depicting of some decorative or social idea. Works should be implemented in an aesthetically same style (composition, camera angles, colour set design). Scope of completed series from 8 to 15 works. • Body in advertising – certain idea or product should be selected, which would be depicted using a body. The goal of work may be advertising of some specific product or depicting of some decorative or social idea. Works should be implemented in an aesthetically same style (composition, camera angles, colour set design). Scope of completed series from 8 to 15 works. An examination work cannot be submitted in a portfolio with: 1. use of inappropriate technologies, for example, photographs from a telephone, 2. photographs created before the beginning of the course, 3. images taken from others, 4. incomplete sketches/ideas for advertising projects. | ||||||||
| Assessment Criteria: | Study course test – examination. In order to receive the final assessment, it is necessary to perform all home assignments and they should be presented at seminars or during consultations. The assessment of the examination is given for the portfolio of works, which includes a series of architectural works, a series of still life works and a series of body works. In order to receive an assessment for the examination, the portfolio should be fully completed. Assessments ‘excellent’ and ‘with distinction’ can be received only if the examination work and home assignments considerably exceed course requirements. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | Exam (Written) | ||||||||
| Learning Outcomes | |||||||||
| Knowledge: | Students gain, evaluate and demonstrate their knowledge about the constructed nature of the message of advertising photography and regularities in its use. Students demonstrate their understanding of interactive links of advertising photography with urban landscape, social environment, printed and digital media, analytically describing and creatively constructing information. | ||||||||
| Skills: | Students plan an advertising photography project. Students identify and classify the reasons and mechanisms of creation of different commercial images. | ||||||||
| Competencies: | Students professionally implement their advertising project in photography demonstrating their own understanding of contemporary trends in the advertising sector. Students autonomously generate ideas for the needs of advertising and practically implement the conceptual and the practical part of an advertising project. | ||||||||
| Bibliography | |||||||||
| No. | Reference | ||||||||
| Required Reading | |||||||||
| 1 | Robert A. Sobieszek (2010). The art of persuasion: a history of advertising photography. H.N. Abrams | ||||||||
| 2 | Johnston, P. (2000). Real Fantasies: Edward Steichens adwertising photography. Berkeley: University of California press | ||||||||
| 3 | Barett, T. (1990). Criticizing Photographs: an introduction to understading images. California. Mayfield Pubishing Company. | ||||||||
| 4 | Bate, D. (2009). Photography: Key Concepts. Oxford & New York: Berg | ||||||||
| 5 | Benjamins, V. (2005). Iluminācijas. Riga: Laikmetīgās mākslas centrs. | ||||||||
| 6 | Flusser, V (2005). Towards A Philosophy of Photography. London: Reaktion Books Ltd. | ||||||||
| 7 | Roland, B. (1980). Mythologies, London: Paladin. | ||||||||
| 8 | Rolāns, B. (2006). Camera lucida. Piezīme par fotogrāfiju. Rīga: Laikmetīgās mākslas centrs. | ||||||||
| 9 | Wells L. (ed) (2004). Photography: a critical introduction. London & New York. Routledge. | ||||||||
| 10 | Zontāga, S. (2008). Par fotogrāfiju. Riga: Laikmetīgās mākslas centrs. | ||||||||
| 11 | Judith Williamson, Decoding Advertisements: Ideology and Meaning in Advertising (London: Marion Boyars, 1978). 6. | ||||||||
| 12 | Raymond Williams, Advertising: TheMagic System, Problemsin Materialism and Culture (London: Verso, 1980), p 184. | ||||||||
| Additional Reading | |||||||||
| 1 | Bodrijārs, Ž. (2000). Simulakri un simulācija. Rīga: Omnia Mea. | ||||||||
| 2 | Manovičs, L. (2006). Jauno mediju valoda. Rīga: Jauno mediju kultūras centrs RIXC. | ||||||||
| 3 | McLuhan, M. (1964). Understanding media. New York: Signet Books. | ||||||||
| 4 | McLuhan, M. & Fiore, Q. (1967). The medium is the message. Singapore: HardWired. | ||||||||
| Other Information Sources | |||||||||
| 1 | Contacts I, II, III, 2005 | ||||||||
| 2 | Genius of photography 1-6, BBC | ||||||||
| 3 | Moment of Impact, 1999 | ||||||||
