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JOHN CABOT UNIVERSITY

COURSE CODE: "AH 273"
COURSE NAME: "Introduction to the History of Photography"
SEMESTER & YEAR: Spring 2016
SYLLABUS

INSTRUCTOR: Martina Caruso
EMAIL: [email protected]
 HOURS: TTH 1:30 PM 2:45 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 include portraiture, landscape, documentary practices, the archive, the 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, Expressionism, 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.
  • 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 essays and presentations; find and evaluate pertinent, high-quality sources and information.
  • Structure and effectively communicate ideas and information orally and in writing.
  • Develop an aptitude at visual analysis and the contextualization of works in different histories.
  • Formulate an interpretative argument and gain insight into cultural outlook, norms and histories that influenced the production/creation of the works under discussion.
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
Camera Lucida, Reflections on PhotographyBarthes, RolandHill and Wang; Reprint edition (October 12, 2010)978-0374532338   
Photography: A Critical Introduction (4th Edition)Wells, Liz (ed.)Routledge 0415460875  
Regarding the Pain of Others Sontag, SusanPicador; Reprint edition (February 1, 2004)978-0312422196  

RECOMMENDED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
A World History of PhotographyRosenblum, NaomiAbbeville Press; Fourth Edition edition (January 29, 2008)0789209373  
The Photography ReaderWells, Liz (ed.)Routledge 978-0415246613   
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Essay due on 7 April 20162000 - 2500 words30%
Class presentations on 15 and 17 March 2016Research presentation to class (10 minutes)25%
Final examination in class date t.b.a.Identification of images and analytical essay25%
Collaboration, attendance, and class participationContribution to class discussions and reviews, sharing of ideas, collaborative behaviour10%
Reading assignments In-class assessment on take-home reading10%

-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 course
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 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 1:30 PM - 2:45 PM



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

COURSE OUTLINE

Week 1.1 (19 January): Course overview and the Invention of Photography

Week 1.2 (21 January): Early photographic processes

Week 2.1 (26 January): Pictorialism

Week 2.2 (28 January): Photography and Painting

Week 3.1 (2 February): Documentary Photography from Jacob Riis to Paul Strand

Week 3.2 (4 February): Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’ (1936) - reading seminar

Week 4.1 (9 February): Italian and French Avant-gardes: Futurism and Surrealism

Week 4.2 (11 February): Soviet Constructivism and Propaganda

Week 5.1 (16 February): American Straight Photography and Group f/64

Week 5.2 (18 February): The Great Depression: 1930s Documentary Photography in the United States and the Farm Security Administration

Week 6.1 (23 February): LIFE Magazine and Magnum

Week 6.2 (25 February): Martha Rosler’s In, around and afterthoughts (On documentary photography) (1981) - reading seminar

Week 7.1 (1 March): Humanist Photography and The Family of Man

Week 7.2 (3 March): Street Photography and The Decisive Moment (Museo di Trastevere)

Week 8.1 (8 March): Landscape Photography – An Overview

Week 8.2 (10 March): Postmodernism I: Pop Art and Appropriation

Week 9.1 (15 March): Class Presentations (Part I)

Week 9.2 (17 March): Class Presentations (Part II) 

Week 10.1 (22 March): Postmodernism II: Conceptual Art 1960s – 1970s

Week 10.2 (24 March): Postcolonial photography

**** SPRING BREAK 26 MARCH – 3 APRIL ****

Week 11.1 (5 April): Picturing an Exhibition

Week 11.2 (7 April): Photography in the Age of Surveillance

Week 12.1 (12 April): Invited Speaker & Essay Submissions

Week 12.2 (14 April): Susan Sontag, Regarding the Pain of Others (2003) - reading seminar

Week 13.1 (19 April): Images of War: from Vietnam to Syria

Week 13.2 (21 April): Contemporary Fine Art Photography

Week 14.1 (26 April) : Beyond Western Photography

Week 14.2 (28 April): Course Review 

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

Note: This schedule of lessons is subject to change.