Veidlapa Nr. M-3 (8)
Study Course Description
Creative Photography
Course Code
KSK_190
Branch of Science
Media and communications
ECTS
3.00
Target Audience
Communication Science; Information and Communication Science
LQF
Level 6
Study Type And Form
Full-Time; Part-Time
Study Course Implementer
Course Supervisor
Alnis Stakle
Structure Unit Manager
Ieva Puzo
Structural Unit
Faculty of Social Sciences
Contacts
Dzirciema street 16, Rīga, szf@rsu.lv
About Study Course
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.
Preliminary Knowledge
None.
Learning Outcomes
Knowledge
1.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
1.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.
Competences
1.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.
Assessment
Individual work
|
Title
|
% from total grade
|
Grade
|
|---|---|---|
|
1.
Individual work |
-
|
-
|
|
Preparation for seminars, study and learning of literature and information materials, independent and group research and creative projects.
In order to evaluate the quality of the study course as a whole, the student must fill out the study course evaluation questionnaire on the Student Portal.
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||
Examination
|
Title
|
% from total grade
|
Grade
|
|---|---|---|
|
1.
Examination |
-
|
-
|
|
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.
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Study Course Theme Plan
FULL-TIME
Part 1
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Archive as a source for creative search.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Photography as an imprint and a tool to register an artwork – photography as an integral part of an artwork in performances and conceptual art.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Photography as an imprint and a tool to register an artwork – photography as an integral part of an artwork in performances and conceptual art.
|
-
Class/Seminar
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Work with images and creation of a personal meanings map for a future creative project in photography. Work in groups and discussions.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Urban environment in photography: environment as a stage, object and witness of accidental and staged events.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Urban environment in photography: environment as a stage, object and witness of accidental and staged events.
|
-
Class/Seminar
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Work with own images and meanings map creating a concept and ideas for urban environment photography.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Photography studio as an environment, where things and events are constructed in controlled conditions constructing new meanings and identities.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Photography in contemporary art: society, institutions and interpretations.
|
-
Class/Seminar
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
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.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Media messages and their interpretation: link of photography to society understanding of genders, class, the beautiful, the socially acceptable, national, modern, etc.
|
-
Class/Seminar
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
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).
|
Total ECTS (Creditpoints):
3.00
Contact hours:
24 Academic Hours
Final Examination:
Exam (Written)
PART-TIME
Part 1
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Photography as an imprint and a tool to register an artwork – photography as an integral part of an artwork in performances and conceptual art.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Urban environment in photography: environment as a stage, object and witness of accidental and staged events.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Photography in contemporary art: society, institutions and interpretations.
|
-
Class/Seminar
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
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.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Media messages and their interpretation: link of photography to society understanding of genders, class, the beautiful, the socially acceptable, national, modern, etc.
|
-
Class/Seminar
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
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).
|
Total ECTS (Creditpoints):
3.00
Contact hours:
16 Academic Hours
Final Examination:
Exam (Written)
Bibliography
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.