General information


Subject type: Optional

Coordinator: Maddalena Fedele

Trimester: First term

Credits: 6

Teaching staff: 

Cristófol Casanovas Casanovas
Joan Safont Marti 

Skills


Specific skills
  • E5_Design and make an audiovisual product (consisting of still or moving images), taking into account both its technical and artistic aspects, in all its components

  • E14_Acquire knowledge of the history, aesthetics, evolution and dynamics of cinema, television, radio, press, Internet and video games, how to recognize aesthetics through viewing and analysis

Transversal competences
  • T2_That students have the ability to work as members of an interdisciplinary team either as one more member, or performing management tasks in order to contribute to developing projects with pragmatism and a sense of responsibility, making commitments taking into account the available resources

Description


The subject proposes to reflect on the use of the documentary photographic image in the representation of the social, political, economic and cultural problems of our society. 

Practical work is articulated from the individual (the self), the immediate and general environment, and the social environment.

Learning outcomes


At the end of the course the student must be able to:

· Present photography as a mediation tool that allows us to get closer to the reality of communities, people and social contexts.

· Generate social awareness as a denunciation or testimony of a hidden reality.

· Have studied the historical evolution and the thought that has been generated by documentary photography.

· Plan, design and make a photographic documentary.

Working methodology


The work in the classroom will consist of practical explanations based on text and photographs, which will show the essence of documentary photography through its authors and photographic technique.

The subject is articulated around two aspects:

  • Theoretical aspect: 
    • Study of texts by photographers and theorists.
    • History of photojournalism and documentary photography.
    • Analysis of authors, from the classics to the "street photo".
    • Importance of the photo editor. 
  • Practical slope:
    • Classes where the technique and photographic tools for each practice to be performed will be explained.
    • Different thematic practices: Portrait, macro photography, nature, objects, environment.
    • Personal research work.

Contents


History 

The self-portrait and the portrait in painting and photography.

Documentary photography and its authors. Home. Science. Pictorialism. Wars.

- From direct photography to new objectivity.

- Birth of graphic journalism. Photo editors. Magnum Agency.

- Street photo and post photography.

Reflection and analysis

Reading of different texts by photographers, editors or philosophers, related to documentary photography. 

(Paul Strand, Cathy Newman, Minor White, Cartier Bresson, Eugene Smith, Regis Durand, Gisele Freund, Winston G. Morris, Joan Foncuberta).

- Watching documentaries showing the work of different photographers. Author analysis.

Photographic technique

Capture formats.

Lighting and light measurement techniques.

The flash and the targets.

One team for each job. 

Practical exercises: Retrat, environment, nature and macro photography.

 

Learning activities


Activity 1: Practices 

Completion of four thematic practices: Portrait, macro photography, objects, environment. Some will be performed on set.

Activity 2: Personal and group work 

Completion of assignments based on writings provided by the teacher.

Carrying out small photographic exercises related to the students' environment.

Author searches.

Activity 3: Final work

Photographic work done individually by the student, based on a common theme proposed at the beginning of the course.

Activity 4: Final exam

From the subject taught during theory classes.

Evaluation system


Final exam: 30%   The exam will consist of specific questions about the knowledge acquired during the course following the syllabus developed.

Individual assignments delivered during the internship: 20%  The different practical works are carried out as a follow-up of the theoretical and practical understanding of the syllabus, are of an individual nature and must be delivered according to the calendar established by the teacher.

Individual final work: 25%   Individual research work will be chosen at the beginning of the course and must be presented in the course of the last classes.

Analysis, writings and presentations: 25%

Content and planning will be provided at the beginning of the course. 

REFERENCES


Basic

· Freund, Gisèle. Photography as a social document. 10ª ed. Barcelona 2002. Gustavo Gili, 2002

 

 

· Women behind the camera. Cathy Newman. National Geographic. 2001

· John Szarowski. The photographer's eye. The Factory. 2007

· John G. Morris. Get this photo! A personal history of photojournalism. The Factory.2013

· Rodríguez, Francisco. What is photography. Ed Lunwerg. 2014

· VVAA Photographic Aesthetics. Ed Gustavo Gili 2003

· Henri Cartier Bresson. Photographing the natural. Ed Gustavo Gili.2003

· Joan Fontcuberta. The Pandora's Room.Ed. Gustavo Gili 2010

Complementary

· Robert Capa. Slightly out of focus. The Factory.2015

· Roland Barthes. The lucid camera. Ed Paidos Ibérica. 2009

· Steiner Otto. Art and photography. Ed Gustavo Gili 1981