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JOHN CABOT UNIVERSITY
COURSE CODE: "COM 111-5"
COURSE NAME: "Introduction to Visual Culture"
SEMESTER & YEAR:
Fall 2025
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SYLLABUS
INSTRUCTOR:
Ludovica Fales
EMAIL: [email protected]
HOURS:
TTH 1:30 PM 2:45 PM
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
OFFICE HOURS:
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COURSE DESCRIPTION:
From photojournalism to Instagram, 21st century communication is primarily image-based. Whether its mass media, individual expression, social media or alternative media, images are used for promoting ideas, products, information and political discourses. In this course students investigate the role of visual culture in daily life, exploring fine art, popular culture, film, television, advertising, business communications, propaganda, viral social media and information graphics. As a critical introduction to visual communication, this course mixes theory, analysis and practical activities for an applied understanding of key issues, including the relationship between images, power and politics; the historical practice of looking; visual media analysis; spectatorship; historic evolution of visual codes; impact of visual technologies; media literacy; information graphics literacy; and global visual culture.
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SUMMARY OF COURSE CONTENT:
This course investigates the increasing role of images in contemporary communication—from traditional media and digital platforms to emerging AI-generated visuals. Students critically examine how visual culture operates in daily life through case studies and theoretical frameworks. Topics include fine art, advertising, viral content, propaganda, social media, and information graphics. Emphasis is placed on visual analysis and media literacy, exploring how meaning is constructed and circulated visually. Students also consider the impact of visual technologies, including artificial intelligence, on creativity, communication, and representation. The course blends theory and practice to build a foundational understanding of how visual media shapes political, cultural, and ideological discourses in a globalized, tech-driven world.
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LEARNING OUTCOMES:
By the end of the course, students will be able to:
● Describe key theories and concepts of visual culture and visual communication
● Identify how visual texts—including AI-generated content—are constructed and circulated across various media
● Analyze a variety of visual texts (e.g., advertisements, social media posts, information graphics, and AI-generated imagery)
● Distinguish communication strategies used in both traditional and digital visual media
● Critically assess the role of visual technologies (including artificial intelligence) in shaping political, social, and cultural discourse
● Apply media and visual literacy skills to evaluate the power and impact of visual messaging
● Create visual content—manually or using digital/AI tools—that demonstrates understanding of course concepts and themes
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TEXTBOOK:
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REQUIRED RESERVED READING:
RECOMMENDED RESERVED READING:
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GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| Midterm Exam | Written exam covering Weeks 1–6. Includes image analysis and short essays. | 25 |
| Final Exam | Cumulative written exam with emphasis on critical analysis of visual texts, including AI-generated images. | 30 |
| Participation + Readings | Active involvement in class discussions, group work, and workshops. Completion of all assigned readings. | 20 |
| Presentation + Visual Project | Group or individual presentation analyzing a visual topic or case study (e.g., AI in media, deepfakes, meme culture). Includes creation of an original visual text using digital or AI tools. | 25 |
-ASSESSMENT CRITERIA:
AWork 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 course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances 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.
FThis 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:
Students are expected to attend all class sessions. Absences exceeding two classes without justification will impact the final grade. Active participation in workshops and critiques is essential.
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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.
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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.
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SCHEDULE
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Week
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Topics
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1
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What is visual culture? / Visual literacy and visual texts
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2
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The politics of representation
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3
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Iconology and the reading of images
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4
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John Berger’s Ways of Seeing
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5
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Traditional media vs. new media (context, technologies, perspectives) Case study: The self-portrait and the selfie
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6
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Semiotics and signs Case study: The semiotics of subcultures
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7
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Review + Midterm
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8
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Roland Barthes and the concept of myth
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9
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Ideology, media, and image-based persuasion
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10
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Representing gender and sexuality in visual media
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11
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Representing race and ethnicity
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12
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Visual activism, countervisuality, and resistance
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13
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Visual Technologies & AI: Deepfakes, synthetic media, generative tools Case study: AI-generated images and media ethics
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14
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Student Presentations + Course Review
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OVERVIEW OF KEY BIBLIOGRAPHIC WORKS FOR THE COURSE
John Berger – Ways of Seeing (Penguin, 1972)
Stuart Hall – “The Work of Representation” in Representation: Cultural Representations and Signifying Practices (Sage/Open University, 1997)
Roland Barthes – “Myth Today” in Mythologies (1957)
Laura Mulvey – “Visual Pleasure and Narrative Cinema” (1975)
bell hooks – “The Oppositional Gaze: Black Female Spectators” in Black Looks: Race and Representation (1992)
Susan Sontag – On Photography (1977)
Kate Crawford & Trevor Paglen – “Excavating AI: The Politics of Images in Machine Learning Training Sets”
Hito Steyerl – “In Defense of the Poor Image” (2009)
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