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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 273"
COURSE NAME: "Introduction to the History of Photography"
SEMESTER & YEAR: Spring 2018
SYLLABUS

INSTRUCTOR: Martina Caruso
EMAIL: [email protected]
 HOURS: TTH 4:30-5:45 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: By appointment
COURSE DESCRIPTION:
The course is an introduction to photography as both a historical and contemporary form of art and communication. It investigates historical and contemporary photographic and related practices, and considers the key theoretical and historical frameworks used to situate them. Informed discussion about photography and its cultural context is central to the course, which covers the invention and early reception of photography, its function as an independent art form, its uses in other practices, scientific investigation, reportage and its relationships to major art movements.
SUMMARY OF COURSE CONTENT:

The course aims to provide a general outline of key historical and theoretical developments in photography. The program follows the development of photography from its origins in the nineteenth century, through modernity and postmodernity, up to the present day, making connections to contemporary practice along the way. The course provides a phased introduction to key study skills such as visual analysis and analysis of theoretical texts.

In this course we explore different ways of understanding the photograph, by situating it within broader cultural debates and critical theories, such as Marxism, feminism and postcolonialism. Looking at landscape, documentary, and fine art photography, we cover iconic as well as anonymous images, going through some of the major art movements from Impressionism to Postmodernism. The main focus of the course will be on Western photography, with an introduction to a global perspective in the second half of the course.

The lectures will include class discussions based on images, readings and student presentations. Students will become familiar with seminal texts on photography, including writings of Susan Sontag, Walter Benjamin and Roland Barthes. One or more guest speakers and gallery/museum visits will be included in the course.

Course information 

For specific enquiries or to set up an appointment please contact me via email on [email protected] 
Changes, additional course information, etc. will be posted on MyJCU. Please check this regularly and, certainly, in advance of each class.
Make-up work is not offered, except in exceptional circumstances and after consultation with the Dean of Academic Affairs.
LEARNING OUTCOMES:

    • Identify historical and contemporary photographic practices in relation to historical and contemporary theories
    • Describe and visually analyze photographs and develop technical vocabulary appropriate to the field
    • Read and understand assigned theoretical texts
    • Identify, define and apply terms from assigned texts
    • Structure and write an essay discussing images in relation to texts, using visual analysis and cited research as evidence
    • Ability to to engage in a sophisticated discussion of photography on the levels of visual, contextual and historical analysis.
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
The Photography ReaderLiz WellsRoutledge978-0415246613     
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Camera Lucida. Reflections on PhotographyRoland BarthesHill and Wang; Reprint edition (October 12, 2010)978-0374532338   
On PhotographySusan SontagPenguin978-0140053975  
Photography: A Cultural HistoryMary Warner MarienPearson978-0205988945  

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Simulacra and SimulationJean BaudrillardThe University of Michigan978-0472065219  
ObjectivityLorraine J. Daston and Peter GallisonThe MIT Press9781890951788  
Burning with Desire: The Conception of PhotographyGeoffrey BatchenThe MIT Press9780262522595  
Photography: the whole storyJuliet Hacking and David CampanyThames & Hudson978-3791347349  
A World History of PhotographyNaomi RosenblumAbbeville9780789209375  
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Course attendance and ParticipationPlease refer to the university catalogue for the attendance and absence policy. Regular attendance and punctuality are mandatory in order to earn full marks. The final grade will take into consideration preparation required for class and participation in class discussions. The grade for class participation will be valued on a 100-point scale, with 100 representing perfect attendance and excellent class participation.10
Reading assignmentsIn-class assessment on take-home reading. Please refer to course outline for seminar details.10
Class presentationsYou will give a 10 minute presentation to class, including a 1 page hand-out outlining research points, talking points and a short bibliography.15
Mid-term examThe midterm examination will be composed of: 1. slide identifications: identify name of the photographer, title and approximate date. 2. 2 slide comparisons: identify 2 works, their photographers and dates, then compare and contrast the works in a short essay, supporting your discussion with relevant information from assigned readings and class discussion. 3. Essay: You will have a choice of two essay topics that treat general themes discussed in the first half of the course. You will need to provide specific examples taken from works discussed in class. 20
Term PaperYou will produce a term paper (1500 words) on a specific photograph or body of work taken from the period discussed in class. Specific instructions will be provided during the first course sessions. Please refer to the course outline for deadlines.25
Final examThe format for the final exam will be the same as the midterm, with slide identifications and comparisons covering only material since the midterm. The essay questions will be on topics taken from themes discussed in the entire course. 20

-ASSESSMENT CRITERIA:
A Work of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the cours
B This indicates a highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluate theory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture and reference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
C This is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
D This level of performance demonstrates that the student lacks a coherent grasp of the material. Important information is omitted and irrelevant points included. In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
F This work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
•   All scheduled classes are mandatory; absences will be noted. Please refer to the university catalogue for the attendance and absence policy.
•   All classes start promptly at 16:30; late arrival will be noted. You are expected to have dealt with food, drink and bathroom needs before class.
•   Make-up work is not offered, except in exceptional circumstances and after consultation with the Dean of Academic Affairs.

Changes to / cancellation of class
•     Changes, additional course information, etc will be posted on MyJCU or sent to your e-mail. Please check this regularly and, certainly, in advance of each class.
•     In case of unavoidable cancellations of class, notification will be posted at the front desk at both Tiber and Guarini campuses. A suitable date and time for a make-up class will subsequently be established.

Textbook and revision aid
• For the text book and recommended reading see the details on the class schedule.
• Revision aids: An overview of works studied, as well as themed questions to help you organise your notes and gain an overview of the material, will be posted on MyJCU.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

COURSE OUTLINE

Week 1.1   Course overview

Week 1.2 Invention, Histories and Processes

Week 2.1 Dark room visit

Week 2.2 Photography and Science

Week 3.1 Reading seminar 1 – Daston, L. & Galison, P. 2007. Objectivity, New York: The MIT Press.

Week 3.2 Photography & Fine Art

Week 4.1 Gallery/Studio visit

Week 4.2 Reading seminar 2- Benjamin,W. 1936. ‘The Work of Art in the Age of Mechanical Reproduction’.

https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm

Week 5.1 Guest speaker

Week 5.2 European & Russian avant-gardes in the 1930s

Week 6.1 US avant-gardes in the 1930s

Week 6.2 Class presentations

Week 7.1 Class presentations

Week 7.2 Reading seminar 3 – Sontag, S. 1977. On Photography, London: Penguin Books.

Week 8.1 Mid-term exam

Week 8.2 The Politics of Landscape

Week 9.1 Reading seminar 4 – Bright, D. 1985. ‘Of Mother Nature and Marlboro Men: An Inquiry into the Cultural Meanings of Landscape Photography’ (+ Term Paper explained)

Week 9.2 Humanist Photography and The Family of Man

Week 9.3 The Photographer’s Eye: How John Szarkowski validated documentary photography as art

Week 10.1 Gallery/Studio Visit

Week 10.2 Postmodernism: from Pop to Conceptual

Week 11.1 Reading seminar 5 – Berger, J. 1972. Ways of Seeing. Chapter 3.

Week 11.2 What is the decisive moment?

Week 13.1 War photography from Robert Capa to Rabih Mroué

Week 13.2 Term paper submission & Reading Seminar 6 – Barthes, R. 1980. Camera Lucida. London: Penguin

https://monoskop.org/images/c/c5/Barthes_Roland_Camera_Lucida_Reflections_on_Photography.pdf

Week 14.2 Appropriation Art & New Materiality

Week 14.2 Gallery/studio visit

Week 15.1 Reading seminar 6 – Baudrillard, J. 1994. Simulacra and Simulation. University of Michigan Press.

Week 15.2 Course Review 

Week 16 Final Exam

Note: This schedule of lessons is subject to change.