Studio of Documentary Photography 2

Register Display Schedule

Subject guarantor:

Karel CUDLÍN

Name of lecturer(s):

Karel CUDLÍN

Learning outcomes of the course unit:

Forms and expression tools are very broad: From the traditional concept of the documentary, often bound with a social or societal topic, through documentation of changes and shifts in society, lifestyle, ecology, topography of individual locations to subjective expression of the relationship of the immediate surroundings or the world in general and one feelings and experience.

Mode of study:

Exercise analysis, projection work in relation to the topic, independent creative work.

Prerequisites and co-requisites:

General knowledge of visual art and photography

General knowledge of modern visual arts theory

Analytical abilities

Creativity

Recommended optional programme components:

No elective requirements.

Course contents:

Documentary photography deals with predominantly the depicting of human stories, man as an individual and the arranging of its behaviour to a wider social context. Emphasis is placed on the creation of a greater and more expansive whole: and a long-term project. Those capturing man and his behaviour in its breadth have the goal to penetrate the surface of the event and object.

Forms and expression tools are very broad: From the traditional concept of the documentary, often bound with a social or societal topic, through documentation of changes and shifts in society, lifestyle, ecology, topography of individual locations to subjective expression of the relationship of the immediate surroundings or the world in general and one feelings and experience.

Not only are communication, vision, internal truth, personal committment, empathy and ability to establish communication and student responsibility, but also the creative process and investigating ones own manner of expression.

Recommended or required reading:

Alberro, Alexander - Norvell, Patricia (ed.): Recording Conceptual Art, Berkeley,

Los Angeles a London: University of California Press, 2001

Alberro, Alexander, Sabeth Buchmann: Art After ConceptualArt, MIT Press,

Cambridge and London, 2006

Fried Michael: Why Photography Matters as Art as Never Before, Yale University

Press, New Haven 2008

Bourriaud, Nicolas: Postprodukce, Praha: Tranzit, 2004

Bourriaud, Nicolas: Relational Aesthetics, Dijon: Les presses du réel, 2002

Cotton Charlotte: The Photography as Contemporary Art, London, Thames

Hudson, 2004

Císař, Karel (ed): Co je to fotografie? Herrmann a synové, Praha 2004

Foster, Hal (ed): Postmodern Culture, London: Pluto Press, 1990

Foster, Hal; Krauss, Rosalind; Bois, Yves-Alain; Buchloh, Benjamin H.D.: Art

since 1900, London: Thames & Hudson, 2004

Michel Frizot: Nouvelle Histoire de la Photographie, Larousse-Bordas, Paris,

1996

Grygar Štěpán, Konceptuální umění a fotografie, Praha, AMU, 2004

Petříček Miroslav: Myšlení obrazem, Herrmann a synové, Praha 2009

Silverio, Robert: Postmoderní fotografie, Praha: AMU, 2007

Liz Wells. The Photography Reader, Routledge, London, 2003

Wall, Jeff: Selected Essays and Interviews, New York: The Museum of Modern

Art, 2007

Planned learning activities and teaching methods:

Classes, exercises, lecture

Assessment methods and criteria:

Students may be graded based on attendance 70% and participation in group excursions. Each exercise will be graded according to the criteria given.

Course web page:

Note:

none

Schedule for winter semester 2014/2015:

The schedule has not yet been prepared

Schedule for summer semester 2014/2015:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Photography EN - Bachelor (qualification subject)