Subject 'Photographic Representation and Expression. Photographic Arrays and Narrative'

Year:   2014/2015    2015/2016    2016/2017    2017/2018    2018/2019    

• documentality as a communication strategy: factuality and fictiveness
• documentary and the attribution of truthful representation; documentality as science and drama
• historical overview of documentary approach in literature, theatre, cinema and photography;
• observational and participatory documentary;
• documentary and visual anthropology; the principle of reflexivity in documentary practice;
• the philosophical underpinnings contributing to the formation of documentary photography: humanism and naturalism
• socially engaged documentary: photojournalism and journalistic photography
• critical and independent documentary practice: photo agencies, personal projects, etc.
• independent documentary practice as a society's means for self-scrutiny;
• single frame and photographic arrays;
• typology, taxonomy, series and other non-narrative photographic arrays;
• the core characteristics and historical forms of narrative
• the relations between photographs in a narrative (directional) array;
• narrative structures in a single frame;
• combining different sign systems into a narrative photo array;
• the real-life (factuality) and photographic narrative: photo essay in journalism;
• fictivity and photographic narrative in the form of a monograph
• photo film as a narrative genre;

On successful completion of this course the students should be able to:
• have a systematic knowledge of documentary genres and their possibilities;
• recognize the constant influence of political, economical and other interests on documentary practice;
• choose between observational and participatory methods
• base the choice of the style and modality of written information on the project objective;
• sense the contextual suitability of documentary modes of expression;
• have a systematic knowledge of photographic arrays;
• differentiate between typological and narrative photographic arrays;
• be conscious of the influence political, economical and other interests have on narrative;
• choose in their work between photographic arrays of different structure;
• use, in addition to geometric composition, narrative (temporal) composition;
• perceive the unity in the original material from which their photographic array composed;
• combine single photographs into narrative arrays that have a direction and are effective and convincing.

2017: 2271  

2015: 2271  

2014: 2271  

2013: 2271