Seminar on the Final Bachelor Thesis 2

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Code Completion Credits Range Language Instruction Semester
307ESBF2 credit 4 2 hours (45 min) of instruction per week, 79 to 99 hours of self-study English summer

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Name of lecturer(s)


Learning outcomes of the course unit

completion of the thesis, preparation for state exams

Mode of study

seminar/individual consultation

Prerequisites and co-requisites

Seminar on the Final Bachelor Thesis 1

Course contents

in the seminar, the student will:

(1) finish the thesis under the guidance of the supervisor - the finished thesis must fulfil all formal criteria, have at least 20 pages (36,000 characters), and be submitted by 19 April 2022 in print and electronically through the information system KOS

(2) participate in a preparatory seminar for the final state exam in history and theory of photography

Recommended or required reading

recommended literature for the thesis is based on its particular theme

recommended literature for final state exams from theory and history of photography:

Barthes, Roland. Camera Lucida. Reflections on Photography.New York: Hill & Wang, 1980.

Barthes, Roland. Image, Music, Text. London: Fontana Press, 1977, pp. 15–51.

Barthes, Roland. Mythologies. New York: Noonday Press, 1972.

Batchen, Geoffrey. Emanations: The Art of the Cameraless Photograph. DelMonico Books – Prestel, 2016.

Batchen, Geoffrey. Each Wild Idea: Writing, Photography, History. Cambridge, Mass.: The MIT Press, 2001.

Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge, Mass.: The MIT Press, 1997.

Benjamin, Walter. The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media. Cambridge – London: Harvard University Press, 2008, pp. 19–165, 271–314.

Durden, Mark (ed.). Fifty Key Writers on Photography. London: Routledge, 2013.

Edwards, Steve. Photography: A Very Short Introduction. Oxford: Oxford University Press, 2006.

Flusser, Vilém. Towards a Philosophy of Photography. London: Reaktion Books, 2000.

Flusser, Vilém. Into the Universe of Technical Images. Minneapolis: University of Minnesota Press, 2011.

Foster, Hal et al., Art Since 1900. Modernism, Antimodernism, Postmodernism.London: Thames & Hudson, 2011.

Freund, Gisèle. Photography & Society. Boston: David R. Godine, 1980.

Frizot, Michel a kol. A New History of Photography. Köln: Könemann, 1998.

Krauss, Rosalind. “A Voyage on the North Sea.” Art in the Age of the Post-Medium Condition. Thames & Hudson, 2000.

Krauss, Rosalind. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge – London: The MIT Press, 1986.

Manovich, Lev. Language of New Media. Cambridge – London: The MIT Press, 2001.

Manovich, Lev. Instagram and Contemporary Image.

Mitchell, W. J. T. Picture Theory. University of Chicago Press 2016.

Rosler, Martha. Decoys and Disruptions: Selected Writings, 1975–2001. Cambridge – London: The MIT Press, 2004.

Sekula, Allan. Photography Against the Grain. Halifax: The Press of Nova Scotia College of Art and Design, 1984.

Sontag, Susan. Regarding the Pain of Others. New York: Picador, 2003.

Sontag, Susan. On Photography. London: Penguin Books, 1977.

Sturken, Marita – Lisa Cartwright. Practices of Looking. An Introduction to Visual Culture. Oxford: Oxford University Press 2009.

Trachtenberg, Alan. Classic Essays on Photography. New Haven, Conn.: Leete’s Island Books, 1980.

Warren, Lynne (ed.). Encyclopedia of Twentieth-Century Photography. Vol. 1+2. New York – London: Routledge, 2006.

Assessment methods and criteria

to receive credits for the course, you must:

Schedule for winter semester 2022/2023:

The schedule has not yet been prepared

Schedule for summer semester 2022/2023:

room 112
Room No. 112

(Lažanský palác)
(lecture parallel1)
Date Day Time Tutor Location Notes No. of paralel
Fri 09:50–11:25 Tomáš DVOŘÁK Room No. 112
Lažanský palác
lecture parallel1

The subject is a part of the following study plans