BAHÇEŞEHİR UNIVERSITY BİLGİ PAKETİ / DERS KATALOĞU
| PHOTOGRAPHY AND VIDEO | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
Course Introduction and Application Information
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| POV3213 | History of Camera Images I | Spring Fall |
3 | 0 | 3 | 5 |
| This catalog is for information purposes. Course status is determined by the relevant department at the beginning of semester. |
Basic information
| Language of instruction: | English |
| Type of course: | Departmental Elective |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Dr. Öğr. Üyesi PRÖHL JOCHEN JAKOB |
| Course Lecturer(s): |
Prof. Dr. NAZLI EDA NOYAN CELAYİR Assoc. Prof. LEWIS KEIR JOHNSON Prof. Dr. HASAN KEMAL SUHER |
| Recommended Optional Program Components: | None |
| Course Objectives: | This course aims to provide histories of camera-images that can inform and enable your development as critical practitioners. The course will review key events in the history of photography and film as picture-making activities, from early attempts to fix images of light to the end of the First World War. |
Learning Outcomes
|
The students who have succeeded in this course; 1. Discriminate between different accounts of the invention of photogaphic images. 2. Relate the emergence of photographic images to prior histories of images and visual culture. 3. Assess the relationship between photographic images and truth-claims made for them. 4. Understand variety of early photographic techniques. 5. Understand variety of genres of uses of early photography. 6. Appreciate reasons for shifts in truth claims for photographic images. 7. Understand variety of purposes for the emergence of filmic images and relations with science and with traditions of public entertainment. 8. Develop understanding of shifts in relations between camera-images and the status and identity of objects as art. 9. Develop understanding of shifts in status of camera-images as documents, documentary and reportage. 10. Explore traditions of camera-images inventively. |
Course Content
| The course will consider ways in which the technical powers of photography have been used by innovative practitioners. It explores the ways in which different photographic and film practices have been involved in different claims to truth and knowledge. It reviews the emergence of different film practices. It explores the differences between genres, assessing the relation between formal innovation in film practice and socio-political, including institutional, changes. |
Weekly Detailed Course Contents
| Week | Subject | Related Preparation |
| 1) | Introduction: Camera-images, history, time, narrative and memory | |
| 2) | Assignment I | Working on the assignments. |
| 3) | Photography: inventions and directions | Weekly readings will be assigned. |
| 4) | Early photographic portraiture | Weekly readings will be assigned. |
| 5) | Early photographic landscape | Working on the assignments. |
| 6) | Assignment II | Working on the assignments. |
| 7) | Midterm; screening of early film | Weekly readings will be assigned. |
| 8) | Early film and early cinema I: science and the rationalisms of movement | Weekly readings will be assigned. |
| 9) | Early film and early cinema II: varieties of the staging of film | Weekly readings will be assigned. |
| 10) | Photography and film alter art: responses to camera images in modern art | Weekly readings will be assigned. |
| 11) | Art alters photography and film: modernism and avant-garde photographic and filmic practices | Weekly readings will be assigned. |
| 12) | Assignment III | Working on the assignments. |
| 13) | Genres of reportage, documentary, fiction, fantasy and fashion | Weekly readings will be assigned. |
| 14) | Presentations for and discussion of visual essay assignments; revision | Working on the presentations. |
Sources
| Course Notes / Textbooks: | Mary Warner Marien, Photography: A Cultural History, 2nd edition, Laurence King, London, 2006; Ian Jeffrey, Revisions: An Alternative History of Photography, National Museum of Photography, Film and Television, Bradford, England, 1999; Geoffrey Batchen, Burning with Desire: The Conception of Photography, The MIT Press, 1999. |
| References: | Heilbrunn Timeline of Art History (Metropolitan Museum, NY): http://www.metmuseum.org/toah/hi/te_index.asp?s=all&t=all&d=photographs&x=21&y=15 Victoria and Albert Museum, Photography: http://www.vam.ac.uk/page/p/photography/ |
Evaluation System
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 1 | % 15 |
| Homework Assignments | 2 | % 20 |
| Midterms | 1 | % 25 |
| Final | 1 | % 40 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| Total | % 100 | |
ECTS / Workload Table
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Study Hours Out of Class | 14 | 5 | 70 |
| Homework Assignments | 2 | 5 | 10 |
| Midterms | 1 | 2 | 2 |
| Final | 1 | 2 | 2 |
| Total Workload | 126 | ||
Contribution of Learning Outcomes to Programme Outcomes
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Knowledge of photographic and video media and ability to use basic, intermediate and advanced techniques of these media. | 3 |
| 2) | Ability to understand, analyze and evaluate theories, concepts and uses of photography and video. | 5 |
| 3) | Ability to employ theoretical knowledge in the areas of the use of photography and video. | 5 |
| 4) | Familiarity with and ability to review the historical literature in theoretical and practical studies in photography and video. | 5 |
| 5) | Ability in problem solving in relation to projects in photography and video. | 3 |
| 6) | Ability to generate innovative responses to particular and novel requirements in photography and video. | 5 |
| 7) | Understanding and appreciation of the roles and potentials of the image across visual culture | 5 |
| 8) | Ability to communicate distinctively by means of photographic and video images. | 5 |
| 9) | Experience of image post-production processes and ability to develop creative outcomes through this knowledge. | 1 |
| 10) | Knowledge of and ability to participate in the processes of production, distribution and use of photography and video in the media. | 4 |
| 11) | Ability to understand, analyze and evaluate global, regional and local problematics in visual culture. | 5 |
| 12) | Knowledge of and ability to make a significant contribution to the goals of public communication. | 5 |
| 13) | Enhancing creativity via interdisciplinary methods to develop skills for realizing projects. | |
| 14) | Gaining general knowledge about the points of intersection of communication, art and technology. |