|LEVEL||02 - Years 2, 3 in Modular Undergraduate Course|
|DESCRIPTION||This study-unit will provide an opportunity to students to document an assigned subject in a photo essay of 10 photographs. Students will be asked to develop an engaging photographic story on a person they find interesting or they’re intrigued by. This could be a relative, close friend, a casual acquaintance or even someone you may encounter on a daily basis, to name a few.
The choice of person will be subject to discussion and the tutor’s approval before the student embarks on the project. The development of visual language, narrative structure and a sequential editing process of the pictures are key learning components of this assignment. Students are required to submit a written piece (max. 300 words) introducing the chosen character and explaining their final set of photographs – this will provide a contextual framework for the images and narrative. Supporting sound (ex. a voice recording from an interview) and moving image work would be accepted as part of the final submission.
All the final submissions will be published on a website hosted on the Cargo Collective platform. This will be created and updated by the students as one peer group. A collective exhibition with an opening could provide an ideal opportunity to launch this website to the public. (Subject to discussion with the students).
This study block would be supported by a series of talks introducing and discussing historic, contemporary and future practices of documentary photography. Group and individual crit sessions will be held to supplement the students’ reflective and work development.
- Introduce students to the research and practices of documentary photography;
- Give students the required skills in storytelling, visual literacy and project planning;
- Encourage students to critically reflect upon their role in the wider landscape of society.
1. Knowledge & Understanding:
By the end of the study-unit students will be able to show knowledge and understanding of:
- Historic and contemporary documentary practices;
- The function of visual language and narrative in relation to the subject being communicated;
- Methods of investigation and a alternative ways of seeing things;
- Approaches by which their practice could be developed and extended in future modules.
By the end of the module students should be able to demonstrate skills in:
- Communicating their ideas to a third party through negotiation of a proposal;
- Composing narrative structures through a selection and editing process;
- Verbal and written articulation of their message;
- Interpersonal communication in the context of a creative process;
- Collaborating with their peers and colleagues;
- Time management;
- Reflective, critical analysis of personal practice and progression;
- An understanding and engagement with any ethical and legal issues involved in their work;
- Using contemporary network-based creative web platforms;
- Promoting their work with a wider audience.
- Arbus, D. and Israel, M. (2007). Diane Arbus: An Aperture Monograph, Aperture.
- Calle, S. (2004). Sophie Calle: Did You See Me?, Prestel.
- Day, J. (2011). Robert Frank’s ‘The Americans’: The Art of Documentary Photography, Intellect.
- Isaacs, M. (Director). (2001). Lift (Documentary), Second Run DVD.
- Weinberg, J. (2005). Fantastic Tales: The Photography of Nan Goldin, Tate.
- Weski, T. (2006). Click Doubleclick: The Documentary Factor, Walther Konig.
Other journal articles related to the topic will be made available on the study-unit e-Learning website.
|STUDY-UNIT TYPE||Studio Practice|
|METHOD OF ASSESSMENT||
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It should be noted that all the information in the description above applies to study-units available during the academic year 2020/1. It may be subject to change in subsequent years.