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Lecturer(s)
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Widžová Petra, MgA.
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Vartecká Anna, doc. Mgr. Ph.D.
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Course content
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1. Particularities of electronic-media worlds, the change of categories and criteria. The shift from analog to digital image, their mutual coexistence. The first instruments, synthesizer video (Steina and Woody Vasulka). 2. Audio-art, sound landscapes and acoustic design (W. Welsch, R. Murray Schafer, D. Kahn). 3. Relationship between photography and music. Photography communicating social and cultural changes associated with popular music. 4. Relationship between photography and word. Contemporary interdisciplinary critical theories about the relationship between photography and vision, about the power of language and the power of view. Photography and graphics. Visual delight and narrative film. 5. Photography, new media and body, application of the feminist, technoscience and queer theory in contemporary visual culture. D. Haraway (concepts of transgender, Cyborg Manifesto, post-gender body). 6. Photography of Middle East, interpretation of sociological and psychological phenomena associated with the issue of exclusion, eradication of national identity and cultural nomadism. 7. Pioneering work in the sphere of hybrid forms of artistic film at the turn of the millennium, processing of existing culture by means of collage (E. L. Ahtila, Ch. Marclay). 8. Applied photography and postmodernism, blurring borders. Photography in commercial, magazine and marketing communication. (R. Avedon, Pirelli, Benetton, Barnbrook, W.Tillmans, M. Parr, D. LaChapelle). 9. Photographic illustration - a genre linking photography and literary text. Czech and Slovak creation. 10. Photography of Central and Eastern Europe after the collapse of communist regimes. Subversion of the language of marketing icons and slogans as part of the new photography criticism (TRIO Sarajevo, NSK, J. David, Y. Lemel, Z. Libera). 11. Reflection of temporality in contemporary artistic photography on various levels, theory and practice of destabilizing the conventional linear concept of time (H. Sugimoto, J. Wall, F. Tan, R. Koselleck, G. Didi-Huberman, B. Groys). 12-13 Presentation and analysis of selected films and texts.
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Learning activities and teaching methods
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unspecified, unspecified
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Learning outcomes
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The aim of the lecture course is to acquaint students through a critical perspective with the world context of photography, film and video art after 1980. Following Theory and History of Photography and New Media VI, the subject of the course will be the interconnection of photography and applied art forms, or commercial production: advertising, fashion, magazine photography, photography in the music industry, acoustic design, photographic illustration. To this end, the course will focus on selected aspects of contemporary photography that initiate critical consideration of dangerous social imaging stereotypes both in art history and in contemporary cultural and market operation, as well as an overview of visual, mass media and gender studies and theories.
The gained capabilities constitute an encompassment and an aquirement of knowledge and experience in the given field of study, they result from a concrete annotation of the subject and are aimed at a profile´s fulfilment of the graduate of the given field of study.
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Prerequisites
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Successful completion of the previous study
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Assessment methods and criteria
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unspecified
Attendance
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Recommended literature
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Cotton, Charlotte. The Photography as Contemporary Art. Thames & Hudson, 2009.
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Cseres, J.; Murin, M. Od analógového k digitálnemu..Nové pohľady na nové umenia v audiovizuálnom veku. Bánská Bystrica, Fakulta výtvarných umení AU, 2010.
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KAVALÍR, Ondřej. John Berger. Způsoby vidění. Labyrint Praha, 2016.
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Silverio, R. Postmoderní fotografie. AMU Praha, 2007.
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SKOPALOVÁ, Eva; JANOŠČÍK, Václav. Návrat do budoucnosti. UMPRUM Praha, 2019.
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