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Lecturer(s)
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Vartecká Anna, doc. Mgr. Ph.D.
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Course content
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1. Interwar avant-garde. New Objectivity and new vision in photography in Europe and Germany; American large format verism and the F/64 group. 2. New concept of teaching in Bauhaus, experimental photography, German avant-garde, avant-garde review. 3. Soviet avant-garde photography and a close connection with the socio-political revolution, Soviet extraordinary film production, work with editing and montage in film and photography, the city symphony, Kuleshov effect, Kino oko. 4. Czechoslovak avant-garde photography, Devětsil, pictorial poems, typophoto; Constructivist and imaginative abstraction; Czech film avant-garde. 5. Dadaism and surrealism in world photography. Photomontage - Dadaist, constructivist, surrealist, and agitative. Avant-garde and its optimal conditions for changing gender stereotypes in the artistic paradigm. 6. Czech interwar and postwar surrealist photography and film. Collage - a phenomenon associated with modern culture. 7. Reform of modern photojournalism. Technological aspects and discoveries in the first third of the 20th century, changes in the ratio of textual and pictorial information in press, photo-essay, photo-editing, ethical dimension of photojournalism. 8. Confrontation of editorial and pictorial strategies in selected periodicals in interwar France, Germany, Czechoslovakia, the USSR and the USA. 9. Social photography in the interwar period in Czechoslovakia, important personalities and exhibition projects, Sociofoto group and Levá fronta. 10. Social photography in the interwar period in the USA; functions of pictorial media during the Great Depression, Farm Security Administration and the New Deal program. 11. Social photography in the interwar period in Germany and England. August Sander's project People of the Twentieth Century and its influence on the later formation of the conceptual focus of the Düsseldorf Art Academy and Bernd and Hilla Becher. 12. Photography and film in the service of totalitarian ideologies, the myth of Leni Riefenstahl. 13. Presentation and analysis of selected films.
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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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A course focused on history of European and American photography in the first half of the 20th century with selected thematic overlaps into the history of cinema, and related film and visual theories. Special emphasis is placed on a critical reflection of aspects of image manipulation in the service of totalitarian ideologies. The subject of this cycle is selected avant-garde art schools, personalities, movements and groundbreaking exhibition projects.
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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ADAMOVE, Ján. Bože môj, čo sú to za ľudia. Poznámky (nielen) k americkej filmovej avantgarde. FVU AU Banská Bystrica, 2018.
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Anděl, J. Česká fotografie 1840-1950. KANT, 2003.
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Barthes, R. Svetlá komora. Archa, Bratislava, 1994.
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CÍSAŘ, K. Co je to fotografie?. Herrmann a synové, 2004. ISBN 80-239-5169-6.
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Rosenblum, Naomi. A World History of Photography. Abbeville Press, New York, 1989.
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Sontag, Susan. O fotografii. Praha: Paseka, 2002. ISBN 80-718-5471-9.
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VARTECKÁ, Anna. Ven ze stínu. Vybrané kapitoly z dějin fotografie (perioda 1918-1955). FUD Ústí nad Labem, 2005.
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