Home / CULTURAL ANTHROPOLOGY IN PHOTOGRAPHY

CULTURAL ANTHROPOLOGY IN PHOTOGRAPHY

Course Code:

Π-5010

Semester:

5st Semester

Specialization Category:

ΜΕ

Course Hours:

6

ECTS:

6


Learning outcomes

  • The development of students’ knowledge and critical abilities in relation to the contemporary theoretical reason for photography developed in the context of Cultural Studies and Humanities
  • Focus on the critical thinking required to understand the photographic production practice
  • Developing skills for independent and personal learning
  • Understanding the necessity of research and the inherent specificities of different methods for producing theoretical and art work.
  • Ability to think and create structured concepts
  • Ability to produce a series of photographs that conceptually and stylistically associated
  • Ability to critically analyze the working process and the final results. Critical support of the project and its presentation
  • Osmosis in a rich, varied, challenging and experimental production of photo albums

 

General Competences

  • Research, analyze and synthesize data and information, using the necessary technologies
  • Adapt to new situations
  • Decision making
  • Autonomous work
  • Teamwork
  • Working in an international environment
  • Exercise of criticism and self-criticism
  • Project design and management
  • Encouraging diversity and multiculturalism
  • Showing social, professional and ethical responsibility and sensitivity to gender issues
  • Promote free, creative and inductive thinking

 

Course Outline

LECTURES

  • Genres that photography adopted from academic painting (portrait, landscape, still life) and their evolution in the cultural environment
  • Portrait as a cultural construction
  • Photographic representation of oneself: Fiction or Autobiography? Influences from other forms of depiction
  • Photographic representation and Otherness:
      1. Paradigms from the colonial era, the systematic carte- postale production in Africa’s West Coast and their consumption from the European audience
      2. The modernist era and the current variations in representing otherness
  • Landscape as cultural construction: 
      1. The origins of landscape in painting. The tradition of Grand Tour in Europe. The collective representation of west America’s landscape. The paradigm of America’s West Coast photographers. 
      2. Greek landscape photography before and after WWII .
      3. Greek landscape. Study cases: the Greek Tourism Organization’s posters.
  • The Sublime and the Picturesque categories and their current versions in the landscape genre
  • Still life photography and how mass produced objects affected it form the early decades of 20th century until today
  • The evolution of photographic genres and their mutation in photography today

 

PRACTICE PART OF THE COURSE

Τhe practice part of the course aims at studying the genres of portrait, landscape and still life. The produced work will be in the following directions

  • The body or the self in space.
    Study of one or more public or private spaces in view of highlighting the relationship between environment and people or social groups
  • Study of landscape as a cultural construction in small or large scale with emphasis on the categories of “Sublime and “Picturesque”.
  • Study of objects (still life) with emphasis on pre-exist categories like cultural and natural or new fabricated categories.

 

RECOMMENDED BIBLIOGRAPHY

  • Antoniadis Costis, Latent Image, Hellenic Center of Photography, 3η Revised Edition, 2014.
  • Bate, D., Photography – Key Concepts, Berg, 2009.
  • Barthes, R., Camera Lucida, Jonathan Cape, 1982.
  • Barthes,R., Image-Music-Text, Fontana Press, 1977.
  • Berger John, Ways of Seeing, Metaixmio, 2011.
  • Benjamin, W., For the Work of Art, Plethron, 2013.
  • Benjamin, W., The Author as Producer, Plethron, 2017.
  • Bright, Susan, Auto Focus: The Self-Portrait in Contemporary Photography, 2010.
  • Bright Susan, Art Photography Now, Thames and Hudson, 2011.
  • Campany, D., Art and Photography, London: Phaidon Press, 2003.
  • Cotton Charlotte, The Photograph as Contemporary Art, London: Thames and Hudson, 2004.
  • Freund, G. Photography and Society. [1st Edition 1974]. London: Gordon Fraser, 1980.
  • Frizot, M. (επιμ.), A New History of Photography, Koln: Koneman, 1994.
  • Jaeger, Anne-Celine, Image Makers Image Takers, Thames and Hudson, 2007
  • Lemagny, J.C. and Rouille, A. (ed.) A History of Photography. London: Cambridge University Press, 1987.
  • Markidou Natassa, Photography Critical Readings, Private Publishing, 2015.
  • Mora, G. Photo Speak: A Guide to the Ideas, Movements, and Techniques of Photography, 1839 to the Present, New York: Abbeville Press, 1998.
  • Schama, Simon, Landscape and Memory, Fontana Press, 1995.
  • Sontag Susan, On Photography,Penguin 1977.
  • Frizot, M. (ed.) A New History of Photography. Koln: Koneman, 1994.
  • Lemagny, J.C. and Rouille, A. (eds) A History of Photography. London: Cambridge University Press, 1987.
  • Mitchell, W.J.T. (επιμ.), Landscape & Power, University of Chicago Press, Chicago and London, 1994.
  • Newhall, B. History of Photography 1839-1937 , ΜΟΜΑ, 1982.
  • Newhall, B. The History of Photography: From 1839 to the Present Day. London: Secker and Warburg, 1964.
  • Rosenblum, N. A World History of Photography. New York: Abbeville Press, 1984.
  • Rosenblum, N.A History of Women Photographers. New York: Abbeville Press, 1994.
  • Warner Marien, M. Photography: A Cultural History. London: Laurence King Publishing, 2002.
  • Wells, L. Introduction to Photography, Plethron 2007.
  • Wells, Liz, Land Matters. Landscape Photography: Culture and Identity, I.B.Tauris, 2011.