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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 273"
COURSE NAME: "Introduction to the History of Photography"
SEMESTER & YEAR: Spring 2015
SYLLABUS

INSTRUCTOR: Nicola Brandt
EMAIL: [email protected]
 HOURS: TTH 6:00 PM 7:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: By appointment
COURSE DESCRIPTION:
This is an introduction to photography as both a historical and contemporary form of art and communication. While essential to the understanding of modern art, the history of photography also illuminates fundamental aspects of the image-dominated culture in which we live. The course is broadly chronological, and includes the invention and early reception of photography, its function as an independent art form, its uses in other arts, scientific investigation, reportage, photojournalism, portraiture, and other fields, and its relationships to major 19th and 20th century art movements. Contemporary photography is treated extensively. 
SUMMARY OF COURSE CONTENT:

The course structure is broadly chronological and thematic. Themes will include portraiture, landscape, documentary practices, the archive, photography book, and photography as a form of material culture. The course will also look at photography’s relationship to major 19th and 20th century art movements such as Impressionism, Pictorialism, Surrealism, late Modernism, and Postmodernism. The history of photography encompasses not only the works of great photographers and iconic images, which will be introduced in depth, but also images––sometimes anonymous––whose original purpose may have been strictly documentary, journalistic, scientific, commercial, domestic, propagandistic etc. The course will emphasize evolving attitudes toward the status of the photographic image from its beginnings to the institutional embrace of photography as contemporary art and its popular explosion in the digital age. The second part of the course will concentrate on contemporary photography from the 1970s onwards.

Due to the wide scope of the subject and the variety of different ‘histories’, the primary focus will be on European and American approaches to the medium. International photography, as well as photography’s relationship to colonial practices will be discussed. The lectures will include class discussions based on images, readings and student presentations. Students will read 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, analyze and interpret significant aspects and themes in the history of photography – within an awareness of the span of different social and historical contexts.
  • Evaluate the ways that photography as a form of art and material culture, as well as the reception, presentation, and historical interpretation of these, are shaped by dynamic social and cultural interactions.
  • Analyze photography as a form of material culture and as a primary source; appreciate the agency of visual and material culture; develop awareness of media, materials and techniques.
  • Students will also develop technical vocabulary appropriate to the field.
  • Describe and visually analyze photographs in relationship to other genres including painting and film.
  • Formulate and develop critical and rigorous arguments, especially in their essays and presentations; find and evaluate pertinent, high-quality sources and information.
  • Structure and effectively communicate ideas and information orally and in writing; understand how to convey ideas and information visually.
  • Develop an aptitude at visual analysis and the contextualization of works in different histories.
  • The formulation of an interpretative argument, as well as ability to draw out observations on the cultural outlook, norms and histories that influenced the production/creation of the works under discussion.
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
Photography: A Critical Introduction (4th Edition)Wells, Liz (ed.)Routledge0415460875     
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
The Photography ReaderWells, Liz (ed.)Routledge978-0415246613  

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Camera Lucida, Reflections on PhotographyBarthes, RolandHill and Wang; Reprint edition (October 12, 2010)978-0374532338  
A World History of PhotographyRosenblum, NaomiAbbeville Press; Fourth Edition edition (January 29, 2008)0789209373  
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Written essay of 2000 - 2500 words(Outline and selection of images must be presented to the professor before final essay submission)30%
Class presentationResearch presentation to class (10 minutes)25%
Final examination in class(Image identifications and analytical essays)25%
Collaboration, attendance, and class participationContribution to class discussions and reviews, sharing of ideas, collaborative behaviour10%
Reading assignments (In-class assessment on take-home reading)10%

-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 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.
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 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.
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 18.00; 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


AH 273
TTH 6:00 PM - 7:15 PM

Details of further reading suggestions as well as a relevant bibliography for the course will be provided at the start of term.

Week 1.1: Histories of Photography and Reoccurring Themes (Part I)

Week 1.2: Histories of Photography and Reoccurring Themes (Part II)

Week 2.1: Sontag’s ‘On Photography’

Week 2.2: The Role of Portraiture

Week 3.1: Emerging Landscapes (Part I)

Week 3.2: Emerging Landscapes  (Part II)

Week 4.1: Invited Speaker

Week 4.2: Photography as Material Culture (Part I)

Week 5.1: Photography as Material Culture (Part II)

Week 5.2: Photography and the Avant-Garde

Week 6.1: Late Modernism (Part I)

Week 6.2: Late-Modernism (Part II)

Week 7.1: Documentary Photography: The Camera and Social Issues (Part I)

Week 7.2: Documentary Fine Art Photography Today (Part II)

Week 8.1: Photographic Practices in Colonial and Post-Colonial Contexts (Part I)

Week 8.2: Photographic Practices in Colonial and Post-Colonial Contexts (Part II)

Week 9.1: Class Presentations (Part I)

Week 9.2: Class Presentations (Part II) 

Week 10.1: Conceptualism 1960s – 1979 

Week 10.2: Postmodernism in Photography: 1970s – 1990s (essay outline review) 

Week 11.1: Picturing an Exhibition

Week 11.2:  Museum and Gallery Visit

Week 12.1: Inheriting Conceptualism: Photographic Practices Today 

Week 12.2: Invited Speaker (essay submissions)

Week 13.1: Photography and the Archive

Week 13.2:  The Photography Book

Week 14.1: Photography and the Age of Electronic Imaging

Week 14.2: Beyond Photography, and Course Review 

Week 15: Final Exam: Date, time and place to be announced.


Note: This schedule of lessons is subject to change.