The aims of course is to analyze the different models of television information in the Italian context focusing on in-depth journalism. The formats of the news will be analyzed: news, talk shows, infotainment, reportage and documentaries.
Analyzing the narrative, the "actors": journalists, anchorman, guests, stars, including the role of the public. We will also analyze the convergences with social media platforms. To complete we will make a comparison with the journalistic narrative models of the printed press and social media.
Analyzing the narrative, the "actors": journalists, anchorman, guests, stars, including the role of the public. We will also analyze the convergences with social media platforms. To complete we will make a comparison with the journalistic narrative models of the printed press and social media.
teacher profile teaching materials
The work of the main personalities who have marked the history of photojournalism will be retraced, as well as the relationship between myth and reality of the profession, between the aspiration to objectivity and the compromises of the editorial chain, between denunciation and censorship, from its origins to the present day. From the golden age of magazines to war photography. The current crisis of the profession. The new challenges of information through images to the aestheticisation and decontextualisation of journalistic photography in the digital age.
Elements of knowledge will be provided on the themes of digital manipulation, debunking of 'hoaxes' in the age of fakenews, political storytelling and post-truth, with an emphasis on the ethics of photography, the main codes of ethics, the legal rules for the use of images and copyright.
The workshop will make students measure themselves directly with the analysis of the snapshots of the major photoreporters and the most significant magazines, enabling them to read them also in relation to the era, the economy, the publishing market, figurative art and the history of the mentality of the societies in which they were taken, so as to contribute to consolidating their overall knowledge of the modern and contemporary age.
Sontag, Susan. Regarding the Pain of Others. New York: Picador, 2004
Gunthert, André. L’image partagée. La photographie numérique. Paris: Textuel, 2015 (provided to students in pdf)
Pastoureau, Michel. Dizionario dei colori del nostro tempo. Milan: Ponte alle Grazie, 2018
Lucas, Uliano and Agliani, Tatiana. La realtà e lo sguardo. Storia del fotogiornalismo in Italia. Turin: Einaudi, 2016
Capa, Robert. Slightly Out of Focus. New York: Modern Library, 2001
Arnett, Peter. Preface to the essay by Alabiso, Vincent, Chuck Zoeller and Kelly Smith Tunney, eds. Flash! The Associated Press Covers the World. New York: Harry N. Abrams, Inc., 1998. (provided to students in pdf)
Morris, John G. Get the Picture. A personal History of Photojournalism, University of Chicago Press, 2002
Pdf (or notes) of classroom lectures
Mutuazione: 20710117 LABORATORIO DI FOTOGIORNALISMO in Scienze della Comunicazione L-20 Delsere Laura
Programme
The course aims to explore the history and present of journalistic photography, its role as a 'window on the world' in modern visual culture and in the formation of what can be considered a 'global consciousness'.The work of the main personalities who have marked the history of photojournalism will be retraced, as well as the relationship between myth and reality of the profession, between the aspiration to objectivity and the compromises of the editorial chain, between denunciation and censorship, from its origins to the present day. From the golden age of magazines to war photography. The current crisis of the profession. The new challenges of information through images to the aestheticisation and decontextualisation of journalistic photography in the digital age.
Elements of knowledge will be provided on the themes of digital manipulation, debunking of 'hoaxes' in the age of fakenews, political storytelling and post-truth, with an emphasis on the ethics of photography, the main codes of ethics, the legal rules for the use of images and copyright.
The workshop will make students measure themselves directly with the analysis of the snapshots of the major photoreporters and the most significant magazines, enabling them to read them also in relation to the era, the economy, the publishing market, figurative art and the history of the mentality of the societies in which they were taken, so as to contribute to consolidating their overall knowledge of the modern and contemporary age.
Core Documentation
Dondero, Mario with Giordana, Emanuele. Lo scatto umano. Viaggio nel fotogiornalismo da Budapest a New York. Bari: Laterza, 2017Sontag, Susan. Regarding the Pain of Others. New York: Picador, 2004
Gunthert, André. L’image partagée. La photographie numérique. Paris: Textuel, 2015 (provided to students in pdf)
Pastoureau, Michel. Dizionario dei colori del nostro tempo. Milan: Ponte alle Grazie, 2018
Lucas, Uliano and Agliani, Tatiana. La realtà e lo sguardo. Storia del fotogiornalismo in Italia. Turin: Einaudi, 2016
Capa, Robert. Slightly Out of Focus. New York: Modern Library, 2001
Arnett, Peter. Preface to the essay by Alabiso, Vincent, Chuck Zoeller and Kelly Smith Tunney, eds. Flash! The Associated Press Covers the World. New York: Harry N. Abrams, Inc., 1998. (provided to students in pdf)
Morris, John G. Get the Picture. A personal History of Photojournalism, University of Chicago Press, 2002
Pdf (or notes) of classroom lectures
Attendance
Attendance is compulsory (in attendance or online, with a maximum of 3 absences out of a total of 12 lectures). Student reception hours: Tuesdays and Thursdays 6.30-8pm online on the Faculty Teams network, by appointment to be requested by email (laura.delsere@uniroma3.it)Type of evaluation
Attendance and active participation in the lessons will be essential. The final (esonero) test, with open questions, is scheduled for 13 December 2022. The third element of assessment for passing the course will be a paper written by the student, who will present it in the classroom. Last academic year 2021- 22 students' dissertations are published on https://ostienselabuniroma3.altervista.org/ where this year's will also be uploaded. Attendance is compulsory (in attendance or online, with a maximum of 3 absences out of a total of 12 lectures). The course will not be videotaped. Examination appointments will then only be used to record course credits (dates will be published shortly).