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Creative Photography
Study Course Description
Course Description Statuss:Approved
Course Description Version:6.00
Study Course Accepted:02.02.2024 12:26:09
| Study Course Information | |||||||||
| Course Code: | KSK_190 | LQF level: | Level 6 | ||||||
| Credit Points: | 2.00 | ECTS: | 3.00 | ||||||
| Branch of Science: | Communication Sciences | Target Audience: | Communication Science; Information and 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 in professional competence of students, which is characterised by the ability to autonomously evaluate and analyse their own photo projects and photo projects of other people, as well as to professionally and creatively create their personal projects using photography. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Archive as a source for creative search. | Lectures | 1.00 | auditorium | |||||
| 2 | Photography as an imprint and a tool to register an artwork – photography as an integral part of an artwork in performances and conceptual art. | Lectures | 2.00 | auditorium | |||||
| 3 | Work with images and creation of a personal meanings map for a future creative project in photography. Work in groups and discussions. | Classes | 1.00 | auditorium | |||||
| 4 | Urban environment in photography: environment as a stage, object and witness of accidental and staged events. | Lectures | 2.00 | auditorium | |||||
| 5 | Work with own images and meanings map creating a concept and ideas for urban environment photography. | Classes | 1.00 | auditorium | |||||
| 6 | Photography studio as an environment, where things and events are constructed in controlled conditions constructing new meanings and identities. | Lectures | 1.00 | auditorium | |||||
| 7 | Photography in contemporary art: society, institutions and interpretations. | Lectures | 1.00 | auditorium | |||||
| 8 | Work with own images. Creation of a concept for displaying own idea using a body and self-created structures. Discussion on displaying of an artist’s identity in artwork. | Classes | 1.00 | auditorium | |||||
| 9 | Media messages and their interpretation: link of photography to society understanding of genders, class, the beautiful, the socially acceptable, national, modern, etc. | Lectures | 1.00 | auditorium | |||||
| 10 | Presentation of a photography project, discussions and evaluation of the project in groups. (All information about the project should be available in the student’s personal blog). | Classes | 1.00 | auditorium | |||||
| Topic Layout (Part-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Archive as a source for creative search. | Lectures | 0.50 | auditorium | |||||
| 2 | Photography as an imprint and a tool to register an artwork – photography as an integral part of an artwork in performances and conceptual art. | Lectures | 1.00 | auditorium | |||||
| 3 | Work with images and creation of a personal meanings map for a future creative project in photography. Work in groups and discussions. | Classes | 0.50 | auditorium | |||||
| 4 | Urban environment in photography: environment as a stage, object and witness of accidental and staged events. | Lectures | 1.00 | auditorium | |||||
| 5 | Work with own images and meanings map creating a concept and ideas for urban environment photography. | Classes | 0.50 | auditorium | |||||
| 6 | Photography studio as an environment, where things and events are constructed in controlled conditions constructing new meanings and identities. | Lectures | 0.50 | auditorium | |||||
| 7 | Photography in contemporary art: society, institutions and interpretations. | Lectures | 1.00 | auditorium | |||||
| 8 | Work with own images. Creation of a concept for displaying own idea using a body and self-created structures. Discussion on displaying of an artist’s identity in artwork. | Classes | 1.00 | auditorium | |||||
| 9 | Media messages and their interpretation: link of photography to society understanding of genders, class, the beautiful, the socially acceptable, national, modern, etc. | Lectures | 1.00 | auditorium | |||||
| 10 | Presentation of a photography project, discussions and evaluation of the project in groups. (All information about the project should be available in the student’s personal blog). | Classes | 1.00 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | Preparation for seminars, study and learning of literature and information materials, independent and group research and creative projects. | ||||||||
| Assessment Criteria: | All practical works submitted and successful participation in seminars. One photo story – author photography 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: | After mastering the course students demonstrate in-depth integrated knowledge and critical understanding of creative photography and its latest trends in Latvia and in the world. | ||||||||
| Skills: | After mastering the course students critically understand and express their personal attitude to phenomena in creative photography being aware of the diversity of its origin and evaluation. | ||||||||
| Competencies: | Able to autonomously use theoretical knowledge and practical skills about creative photography, creating new ideas and approaches to projects based in the medium of photography. Students are able to autonomously plan and drive their professional improvement, deepening their understanding of creative photography. | ||||||||
| 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 | Benjamins, V. (2005). Iluminācijas. Riga: Laikmetīgās mākslas centrs. | ||||||||
| 4 | Burjo, N. (2001). Attiecību estētika. 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 | Hatami A. (2004). Andreas Gurskys Photography: Envisioning the 21st Centurys Capitalist World. Unpublished dissertation. University of South Carolina. | ||||||||
| 8 | Jeffrey, I. (1999). Revisions: An alternative history of photography. Bradford, England: National Museum of Photography, Film & Television. | ||||||||
| 9 | 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. | ||||||||
| 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 | Velšs, V. (2005). Estētikas robežceļi. Riga: Laikmetīgās mākslas centrs. | ||||||||
| 13 | Wells L. (ed) (2004). Photography: a critical introduction. London & New York. Routledge. | ||||||||
| 14 | Weski T. (2000). No Scrawling, Scratching, and Scribbling on the Plate in How You Look At It. (pp. 19 - 37) NY: D.A.P. | ||||||||
| 15 | Zontāga, S. (2008). Par fotogrāfiju. Riga: Laikmetīgās mākslas centrs. | ||||||||
| 16 | Elena Stylianou & Theopisti Stylianou-Lambert, Museums and Photography: Displaying Death, Routledge, 2017 | ||||||||
| 17 | Victor Burgin, The Camera: Essence and Apparatus, MACK, 2018 | ||||||||
| 18 | Allan Sekula, Photography Against the Grain: Essays and Photo Works, 1973–1983, MACK, 2016 | ||||||||
| 19 | David Campany, A Handful of Dust, MACK, 2015 | ||||||||
| 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 | McLuhan, M. (1964). Understanding media. New York: Signet Books. | ||||||||
| 6 | McLuhan, M. & Fiore, Q. (1967). The medium is the message. Singapore: HardWired. | ||||||||
