Learning outcomes
- Ability to recognize different ways of reading and interpreting photographs and ability to justify the varied readings that photographs acquire through semiology
- Guidelines on critical reading and historical knowledge needed to understand photographic production practices.
- Developing skills for independent and personal learning
- Ability to think and create structured concepts
- Ability to critically support their work and its presentation
- Ability to produce a series of photographs that are conceptually and stylistically related
- Ability to critically analyze work patterns and final results.
- Osmosis in a rich, varied, challenging, experimental and spiritualy, psychic /intellectual study of the photographic production
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. Respect for diversity and multiculturalism
- Showing social, professional and ethical responsibility and sensitivity to gender issues
- Promote free, creative and inductive thinking
Course Outline
THEORY
- Encoding the photographic message: Analysis of R. Barthes’s essay The Photographic Message
- The meaning of the photographic image: Analysis of R. Barhes’s essay The Rhetoric of the Image
- Photography and Contexts:
- The relationship between photography and text
- Image juxtapositions where Sequences and Photostories will be examined
- Photography and its relation with various reading concepts
- The rhetoric scheme of Metonymy in photography: contemporary documentary photography
- The transformation of documentary photography and its presence in exhibition spaces (Museums, Art spaces)
- The rhetoric scheme of Metaphor in contemporary art photograph the concept of Narrative in photography ( The integration of elements from cinema, painting, literature and fairy tales)
- The rhetoric of Straight photographic representation
PRACTICE PART OF THE COURSE
Through the practice part of the course students will have the opportunity to apply basic strategies taught about creating the photographic meaning in creating their photographs with concise conceptual or narrative content:
- Creating a narrative through a series of photographs:
- Sequences and Photostories
- Image within an image
- Photography and Text
ESSENTIAL READING
- 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, 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.
- 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.
- Rosenblum, N. A World History of Photography. New York: Abbeville Press, 1984.
- Wells, L. Introduction to Photography, Plethron 2007.