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Lecturer(s)
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Machová Adéla, MgA. Ph.D.
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Vartecká Anna, doc. Mgr. Ph.D.
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Course content
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1. Introduction, key moments: the industrial revolution and the creation of the poster. 2. Graphic design, war and propaganda. War poster as a key means of communication and recruitment. 3. Totalitarian dictatorships and political propaganda (Italy, Germany, USSR). The Dada movement, social movement and resistance to any hardship as a basic principle of graphic design. 4. Graphic design as an important means of war promotion, mass promotion of totalitarian political ideology through the use of technically reproducible images - film and photography and print. 5. Films by Leni Riefenstahl - demonstrations for the analysis of visual propaganda tools. The myth and proclamation of engaged visual production without any social and ethical responsibility. 6. Revolution in art = revolution in life, socio-political development in Soviet Russia in the 1920s and 1930s, new strategies in pictorial periodicals and photomontage, equal rights of photography and text in graphic expressions, new spatial concepts of typography and political symbolism. 7. Film and photographic montage in Soviet Russia. Visual tools of film montage in the service of totalitarian ideology 8. Socialist realism and poster as a means of ideological manipulation. 9. Socio - economic contexts and personalities associated with the emergence of corporate identity. Global projects and campaigns cultivating visual culture in the USA. 10. The Helvetic script - a mirror of aesthetic, formal, socio-cultural and ideological changes taking place in the Euro-American context in the second half of the 20th century. 11. European post-war currents of graphic design following the interwar avant-garde, national historical traditions, local specifics, forms of low culture: Poland. 12. France: People's Studio (Atelier Populaire), Grapus group and anti-government, left-wing graphic interventions; Situationists, Guy Debord and the Spectacle Society. 13. Manifesto First Things First and program subversion in graphic design at the end of the 20th century.
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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 series of lectures and exercises covers a whole range of areas of key issues, which can be described by the relationship of concepts: visual culture, representation and ideology. It is based on the assumption that visual and especially graphic practices are interconnected and controlled by power systems and that visual images are to a large extent the product of specific power subjects. The subject of this cycle are selected areas of graphic design and visual art from the end of the 19th century to the middle of the 20th century, to which a critical reflection of stereotypes of mass visual culture can be applied.
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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AULICH, James. Válečné plakáty-Zbraně hromadné komunikace. Naše vojsko, Praha, 2009.
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BOSÁK, Petr; JANSA, Robert. Proto. Grafický design a současné umění. VŠUP a tranzit.cz Praha, 2013.
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Hollis, Richard. Stručná historie grafického designu. Rubato, Praha, 2014.
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KAVALÍR, Ondřej. John Berger. Způsoby vidění. Labyrint Praha, 2016.
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Mc Luhan, M. Jak rozumět médiím. Praha: Odeon, 1991.
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ORAVCOVÁ, Jana. Mocné ženy alebo ženy moci? Vizuálna kultura, reprezentácia, ideológia. Csy,s.r.o. Selce, 2014.
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Petišková, T. Československý socialistický realismus 1948 - 1958. Praha: Gallery, 2002.
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