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History of Ideas of Photography I
Study Course Description
Course Description Statuss:Approved
Course Description Version:5.00
Study Course Accepted:02.02.2024 12:26:06
| Study Course Information | |||||||||
| Course Code: | KSK_177 | LQF level: | Level 6 | ||||||
| Credit Points: | 3.00 | ECTS: | 4.50 | ||||||
| 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: | None. | ||||||||
| Objective: | To make a multilateral insight into the history of ideas and understanding of photography, to foster students to think about the role of photography in art, society and different fields of knowledge. Course title “History of Ideas of Photography” indicates the focus on how photography was understood in different times and cultural contexts, what ideas and opinions photo artists implemented in their works and how respective photography technology aroused ideas and opinions not only in art, but also in philosophy and different fields of science. “History of Ideas of Photography I” will cover the period of time from the invention of media to different manifestations of modernism in photography. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introduction to the study course content. | Lectures | 1.00 | auditorium | |||||
| 2 | Invention of photography. Revolutionary innovation or natural step in the western display history? | Lectures | 1.00 | auditorium | |||||
| 3 | First attempts to understand photography (L. G. M. Daguerre, V. H. F. Talbot, F. Arago, J. Herschel, etc.). | Lectures | 1.00 | auditorium | |||||
| 4 | Role of other media – painting and literature – in explaining photography. | Lectures | 1.00 | auditorium | |||||
| 5 | Understanding and image of photography as art in the 19th century (A. Atkins, D. O. Hill, R. Adamson, Nadar, J. M. Cameron, Ch. Baudelaire, etc.). | Lectures | 2.00 | auditorium | |||||
| 6 | Pictorialism as the first international and uniform trend in photo art. | Lectures | 2.00 | auditorium | |||||
| 7 | Purely photographic art: Group f/64 or Californian modernism and its further reception (E. Weston, I. Cunningham, A. Adams, etc.). | Classes | 1.00 | auditorium | |||||
| 8 | Photography and modernism II: photography in surrealism (M. Duchamp, M. Ernst, M. Ray, Brassai, A. Kertesz, K. Kauna, etc.). | Classes | 1.00 | auditorium | |||||
| 9 | Use of photographic surrealism in the author photography of the 20th century. | Classes | 1.00 | auditorium | |||||
| 10 | Photography and modernism III: photography in Dadaism (M. Duchamp, H. Hoch, etc.) Photography as an element of collage in the art of the 20th century. | Classes | 1.00 | auditorium | |||||
| Topic Layout (Part-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Introduction to the study course content. | Lectures | 1.00 | auditorium | |||||
| 2 | Invention of photography. Revolutionary innovation or natural step in the western display history? | Lectures | 1.00 | auditorium | |||||
| 3 | First attempts to understand photography (L. G. M. Daguerre, V. H. F. Talbot, F. Arago, J. Herschel, etc.). | Lectures | 1.00 | auditorium | |||||
| 4 | Role of other media – painting and literature – in explaining photography. | Lectures | 1.00 | auditorium | |||||
| 5 | Understanding and image of photography as art in the 19th century (A. Atkins, D. O. Hill, R. Adamson, Nadar, J. M. Cameron, Ch. Baudelaire, etc.). | Lectures | 0.50 | auditorium | |||||
| 6 | Pictorialism as the first international and uniform trend in photo art. | Lectures | 0.50 | auditorium | |||||
| 7 | Purely photographic art: Group f/64 or Californian modernism and its further reception (E. Weston, I. Cunningham, A. Adams, etc.). | Classes | 0.50 | auditorium | |||||
| 8 | Photography and modernism II: photography in surrealism (M. Duchamp, M. Ernst, M. Ray, Brassai, A. Kertesz, K. Kauna, etc.). | Classes | 1.00 | auditorium | |||||
| 9 | Use of photographic surrealism in the author photography of the 20th century. | Classes | 1.00 | auditorium | |||||
| 10 | Photography and modernism III: photography in Dadaism (M. Duchamp, H. Hoch, etc.) Photography as an element of collage in the art of the 20th century. | Classes | 0.50 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | To approbate the knowledge obtained during lectures and seminars, to be able to critically analyse the literature related to phenomenology of an image and express own opinion, to write literary summaries and the final essay. | ||||||||
| Assessment Criteria: | Participation in lectures. Participation and activity in seminars. Report. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | Exam (Written) | ||||||||
| Learning Outcomes | |||||||||
| Knowledge: | To know the most important author photographers, their works and ideas. To know the most important authors (philosophers, cultural theorists, etc.) and their ideas about photography in a broader cultural and historical context. | ||||||||
| Skills: | To competently study and analyse texts on the history of ideas of photography and use them to shape own understanding of photography. To competently get involved in discussions at seminars, be able to formulate, express and analyse ideas. To know how to recognise a certain photographer or works from a photography movement. To critically evaluate popular culture photographs. | ||||||||
| Competencies: | To find one’s way around the most important aspects of understanding photography. To find one’s way around the most important personalities of author photography and their works. To be able to critically evaluate different photographs (author photographs, advertising photographs, etc.). | ||||||||
| Bibliography | |||||||||
| No. | Reference | ||||||||
| Required Reading | |||||||||
| 1 | Benjamins, V. (2005). Mākslasdarbs tā tehniskās reproducējamības laikmetā. No V.Benjamins. Iluminācijas. I. Ījabs (Tulk.). Rīga: LMC. | ||||||||
| 2 | Crary, J. (1992). Techniques of the Observer: On Vision and Modernity in the 19th Century. MIT Press. | ||||||||
| 3 | Krauss, R. (1994). Notes on the Index: Part 1 // Krauss R. The Originality of the Avant-Garde and Other Modernist Myths. London: The MIT Press. | ||||||||
| 4 | Marien, W. M. (2002) Photography: A Cultural History. Laurence King Publishing. | ||||||||
| 5 | Talbot, H. F. (1844) The Pencil of Nature. | ||||||||
| 6 | Trachtenberg, A. (Ed.) (1980). Classic Essays on Photography. New Haven, Conn.: Leete’s Island Books | ||||||||
| Additional Reading | |||||||||
| 1 | - | ||||||||
| Other Information Sources | |||||||||
| 1 | - | ||||||||
