|
Course Name
|
Contemporary Debates and Practise in Photography
|
|
Code
|
Semester
|
Theory
(hour/week)
|
Application/Lab
(hour/week)
|
Local Credits
|
ECTS
|
|
NMC 464
|
Fall/Spring
|
3
|
0
|
3
|
4
|
|
Prerequisites
|
None
|
|
Course Language
|
English
|
|
Course Type
|
Elective
|
|
Course Level
|
First Cycle
|
|
Mode of Delivery
|
- |
|
Teaching Methods and Techniques of the Course
|
- |
|
National Occupation Classification
|
-
|
|
Course Coordinator
|
- |
|
Course Lecturer(s)
|
- |
|
Assistant(s)
|
- |
|
Course Objectives
|
This module aims for students to gain both theoretical and practical experiences on different uses of photography by creating awareness about the contemporary approaches to it. |
|
Learning Outcomes
|
The students who succeeded in this course;
- Read today’s photography with the knowledge of historical development of the photography;
- Relate the photography with fields, such as, media, art, architecture, fashion and advertising;
- Analyse the relationships and effects of political and cultural developments with the photography;
- Have the skills to practise what they have learned;
- Identify the important figures and artists in photography history
- Analyse the effects of photography on mass media and communication.
|
|
Course Description
|
This unit introduces various genres and fields of use of photography in
which the themes and genres of practice units will be based on. |
|
Related Sustainable Development Goals
|
|
|
|
Core Courses |
|
| Major Area Courses |
|
| Supportive Courses |
X
|
| Media and Management Skills Courses |
|
| Transferable Skill Courses |
|
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
|
Week |
Subjects |
Related Preparation |
| 1 |
Introduction to the course |
|
| 2 |
Brief History and Origins of Photography |
History by David Bate and screening of The Genius of Photography - I (59 mins) |
| 3 |
“What photographs look like, and of why they look that way?” |
The Photographer’s Eye by John Szarkowski |
| 4 |
Fine Art and Photography |
The Camera Mind and Eye by Minor White |
| 5 |
Narrative and Photography |
Screening of La Jetée by Chris Marker (28 mins) |
| 6 |
Photojournalism and Documentary Photography - I |
Screening of War Photographer by Christian Frei (97 mins) |
| 7 |
Photojournalism and Documentary Photography - II |
Photojournalism and Tabloid Press by Karin E. Becker |
| 8 |
Advertising and Fashion Photography |
Fashion by Susan Bright and Paris Minnesota by Alec Soth |
| 9 |
Mass Media, Globalization and Photography |
Global Photography by David Bate and Mass Media and Mass Markets by Mary Warner Marien |
| 10 |
Portraiture and the “Self” |
What’s in a Face? Blankness and Significance in Contemporary Art Photography by Julian Stallabrass |
| 11 |
Landscape and Architecture Photography |
Andreas Gursky: Photographer of the Generic City by Steven Jacobs |
| 12 |
Still Life |
Screening of William Eggleston in the Real World by Michael Almereyda (84 mins) |
| 13 |
Student meetings regarding to the projects |
Sample proposals will be given for next week. |
| 14 |
Photography Agencies: Magnum, VII, Panos and Getty Images |
Project proposals must be submitted this week. |
| 15 |
Review of the semester |
|
| 16 |
Final Exam |
|
|
Course Notes/Textbooks
|
Campany, D. (2012). Photography and cinema. London:
Reaktion. ISBN-10: 9780714863924.; BATE, D. (2019).
PHOTOGRAPHY: The key concepts. Place of publication not
identified: BLOOMSBURY VISUAL ARTS.ISBN-10:
1350107956.; Wells, L. (2019). The photography reader: History
and theory. London ; New York: Routledge.ISBN-10:
0415749182.; Marien, M. W. (2020). PHOTOGRAPHY: A cultural
history. S.l.: LAURENCE KING PUBLISHING.ISBN-10:
1780673329.; Traub, C., Heller, S., Bell, A. B. (2006). The
Education of a photographer. New York: Allworth Press.ISBN-10:
158115450X.; Berger, J., Mohr, J. (2001). Another way of telling:
A possible theory of photography. London: Bloomsbury.ISBN-10:
1408864452.; Barthes, R.,; Howard, R. (2020). Camera lucida:
Reflections on photography. London: Vintage Classics.ISBN-10:
1784876011.
|
|
Suggested Readings/Materials
|
|
EVALUATION SYSTEM
|
Semester Activities
|
Number |
Weigthing |
| Participation |
1
|
20
|
| Laboratory / Application |
-
|
-
|
| Field Work |
-
|
-
|
| Quizzes / Studio Critiques |
-
|
-
|
| Portfolio |
-
|
-
|
| Homework / Assignments |
-
|
-
|
| Presentation / Jury |
-
|
-
|
| Project |
4
|
80
|
| Seminar / Workshop |
-
|
-
|
| Oral Exams |
-
|
-
|
| Midterm |
-
|
-
|
| Final Exam |
-
|
-
|
| Total |
5
|
100
|
| Weighting of Semester Activities on the Final Grade |
5
|
100
|
| Weighting of End-of-Semester Activities on the Final Grade |
-
|
-
|
| Total |
5 |
100 |
ECTS / WORKLOAD TABLE
|
Semester Activities
|
Number |
Duration (Hours) |
Workload |
Theoretical Course Hours
(Including exam week: 16 x total hours) |
16
|
3
|
48
|
Laboratory / Application Hours
(Including exam week: '.16.' x total hours) |
-
|
-
|
-
|
| Study Hours Out of Class |
14
|
3
|
42
|
| Field Work |
-
|
-
|
-
|
| Quizzes / Studio Critiques |
-
|
-
|
-
|
| Portfolio |
-
|
-
|
-
|
| Homework / Assignments |
-
|
-
|
-
|
| Presentation / Jury |
-
|
-
|
-
|
| Project |
4
|
7
|
28
|
| Seminar / Workshop |
-
|
-
|
-
|
| Oral Exam |
-
|
-
|
-
|
| Midterms |
-
|
-
|
-
|
| Final Exam |
-
|
-
|
-
|
| |
|
Total |
118
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes
|
* Contribution Level
|
|
1
|
2
|
3
|
4
|
5
|
|
1 |
To be able to critically discuss and interpret the theories, concepts and ideas that form the basis of the discipline of new media and communication.
|
-
|
-
|
-
|
-
|
-
|
|
2 |
To be able to critically interpret theoretical debates concerning the relations between the forms, agents, and factors that play a role in the field of new media and communication.
|
-
|
-
|
-
|
-
|
-
|
|
3 |
To have the fundamental knowledge and ability to use the technical equipment and software programs required by the new media production processes.
|
-
|
X
|
-
|
-
|
-
|
|
4 |
To be able to gather, scrutinize and scientifically investigate data in the processes of production and distribution.
|
-
|
-
|
X
|
-
|
-
|
|
5 |
To be able to use the acquired theoretical knowledge in practice.
|
-
|
X
|
-
|
-
|
-
|
|
6 |
To be able to take responsibility both individually and as a member of a group to develop solutions to problems encountered in the field of new media and communication.
|
-
|
-
|
-
|
-
|
-
|
|
7 |
To be informed about national, regional, and global issues and problems; to be able to generate problem-solving methods depending on the quality of evidence and research, and to acquire the ability to report the conclusions of those methods to the public.
|
-
|
-
|
-
|
-
|
-
|
|
8 |
To be able to critically discuss and draw on theories, concepts and ideas that form the basis of other disciplines complementing the field of new media and communication studies.
|
-
|
-
|
X
|
-
|
-
|
|
9 |
To be able to develop and use knowledge and skills towards personal and social goals in a lifelong process.
|
-
|
-
|
-
|
-
|
-
|
|
10 |
To be able to apply social, scientific and professional ethical values in the field of new media and communication.
|
-
|
-
|
-
|
-
|
-
|
|
11 |
To be able to collect datain the areas of new media and communication and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1).
|
-
|
-
|
-
|
-
|
-
|
|
12 |
To be able to speak a second foreign language at a medium level of fluency efficiently.
|
-
|
-
|
-
|
-
|
-
|
|
13 |
To be able to relate the knowledge accumulated throughout the human history to their field of expertise.
|
-
|
-
|
-
|
-
|
-
|
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
