The course deals with the analysis of images. It refers specifically to the social factors intervening in the construction of their meanings. The first part of the course will provide analytical and methodological tolls to the students in order to analyse the images and, more specifically, the photos. The second part of the course will focus on the social and public use of images, especially in relation to photos of controversial pasts (wars, natural disasters, violence, terroristic attacks).
Curriculum
teacher profile teaching materials
1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Susan Sontag (1973), On Photography, Capitolo I, "In Plato's cave”, Rosetta Books, New York, pp. 1-19.
3) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi,Torino, pp. 193-211.
4) John Tagg (1993), The Burden of Representation: Essays on Photographies and Histories, “Introduction”, University of Minnesota Press, Minneapolis, pp. 1-33.
5) Olga, Shevchenko (2015) "“The mirror with a memory”: placing photography in memory studies." In Anna Lisa Tota and Trever Hagen (eds.), Routledge International Handbook of Memory Studies, Routledge, London, pp. 294-309.
6) Van Dijck, José (2011), "Flickr and the culture of connectivity: Sharing views, experiences, memories." Memory Studies 4.4: 401-415.
7) Anna Lisa Tota (2013), “A Photo that matters: The memorial clock in Bologna and its invented tradition”, in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, Piscaway, pp. 41-64.
8) Susie Linfield (2013), La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, Roma, pp. 10-46.
9) Sandra Ponzanesi (2005), “Beyond the black Venus: Colonial sexual politics and contemporary visual practices”, in Jacqueline Andall and Derek Duncan (eds), Italian Colonialism: Legacy and Memory, Peter Lang, Oxford, pp. 165–89.
Students will also have access the teaching materials used by the teacher (power points and images) and a series of suggested readings, whose reading is optional.
All materials are available on the website http://filosofiacomunicazionespettacolo.uniroma3.it on the teacher's personal page.
Mutuazione: 20710389 COMUNICAZIONE VISUALE in Cinema, televisione e produzione multimediale LM-65 (docente da definire)
Programme
The course deals with the analysis of images. It refers specifically to the social factors intervening in the construction of their meanings. The first part of the course will provide analytical and methodological tolls to the students in order to analyse the images and, more specifically, the photos (referring above all to the theories of Roland Barthes and Susan Sontag). The second part of the course will focus on the social and public use of images, especially in relation to photos of controversial pasts (wars, natural disasters, violence, terroristic attacks). The course will have an interactive structure, in which students will be asked to actively participate through short presentations, the sharing of images, and the collective interpretation of the visual materials presented by the teacher.Core Documentation
The exam will be based on the reading of the following texts:1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.
2) Susan Sontag (1973), On Photography, Capitolo I, "In Plato's cave”, Rosetta Books, New York, pp. 1-19.
3) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi,Torino, pp. 193-211.
4) John Tagg (1993), The Burden of Representation: Essays on Photographies and Histories, “Introduction”, University of Minnesota Press, Minneapolis, pp. 1-33.
5) Olga, Shevchenko (2015) "“The mirror with a memory”: placing photography in memory studies." In Anna Lisa Tota and Trever Hagen (eds.), Routledge International Handbook of Memory Studies, Routledge, London, pp. 294-309.
6) Van Dijck, José (2011), "Flickr and the culture of connectivity: Sharing views, experiences, memories." Memory Studies 4.4: 401-415.
7) Anna Lisa Tota (2013), “A Photo that matters: The memorial clock in Bologna and its invented tradition”, in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, Piscaway, pp. 41-64.
8) Susie Linfield (2013), La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, Roma, pp. 10-46.
9) Sandra Ponzanesi (2005), “Beyond the black Venus: Colonial sexual politics and contemporary visual practices”, in Jacqueline Andall and Derek Duncan (eds), Italian Colonialism: Legacy and Memory, Peter Lang, Oxford, pp. 165–89.
Students will also have access the teaching materials used by the teacher (power points and images) and a series of suggested readings, whose reading is optional.
All materials are available on the website http://filosofiacomunicazionespettacolo.uniroma3.it on the teacher's personal page.
Type of delivery of the course
The course will have a hybrid format, and will take place live in the classroom and online on the TEAMS platform.Attendance
Attendance is not compulsory.Type of evaluation
The evaluation will take place on the basis of two tests: 1) the oral presentation of a text chosen from the list of suggested redings (optional, students who take this test have a score bonus that is added to the final grade); 2) A written exam, based on three open questions, to be completed in two hours (40 minutes per question). Erasmus students will have the opportunity to answer the questions in a language of their choice between Italian, English, French and Spanish. teacher profile teaching materials
Moreover, the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) visual activism; f) sexuality and gender in advertisements; g) photography and representation of the Other.
2) Roland Barthes (1964), Image-Music-Text. (Translation 1977), capitolo II, “The Rhetoric of the Image”. S. Heath, ed. London: Fontana, pp. 32-51.
3) Susan Sontag (1973), On Photography, Capitolo I, "In Plato's Cave”, Rosetta Books, New York, pp. 1- 19.
4) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
5) Barbie Zelizer (2004), “The Voice of the Visual in Memory”, in Phillips R. Kendall (ed.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
6) Anna Lisa Tota (2013), “A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition”, in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, Piscaway, pp. 41-64.
7) Susie Linfield (2013), La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, Roma, pp. 10-46.
8) Merskin, Debra (2004), “Reviving Lolita? A Media Literacy Examination of Sexual Portrayals of Girls in Fashion Advertising”. American Behavioral Scientist 48, pp. 119-128
The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage) and on the Moodle page of the course.
Programme
The course focuses on the study and analysis of images, with particular reference to the social components that intervene in the processes of signification. In the first part of the course students will be provided with analytical and methodological tools to analyze images and, in particular, photographs (mainly referring to the theories of Roland Barthes and Susan Sontag). In the second part, instead, specific attention will be given to their public and social use, with particular reference to the images of controversial past (wars, violence, terrorist attacks, migration, activism and revolutions).Moreover, the following topics will be illustrated: a) the relation between memory and photography; b) the digital photography; c) selfie and social identities; d) photography as art; e) visual activism; f) sexuality and gender in advertisements; g) photography and representation of the Other.
Core Documentation
1) Roland Barthes (1979), La camera chiara. Nota sulla fotografia, Piccola Biblioteca Einaudi, Torino.2) Roland Barthes (1964), Image-Music-Text. (Translation 1977), capitolo II, “The Rhetoric of the Image”. S. Heath, ed. London: Fontana, pp. 32-51.
3) Susan Sontag (1973), On Photography, Capitolo I, "In Plato's Cave”, Rosetta Books, New York, pp. 1- 19.
4) David Bate (2017), Il primo libro di fotografia, Capitolo 7 "Fotografia e Arte", Piccola Biblioteca Einaudi, Torino, pp. 193-211.
5) Barbie Zelizer (2004), “The Voice of the Visual in Memory”, in Phillips R. Kendall (ed.), Framing Public Memory, University of Alabama Press, Tuscaloosa, pp. 157-186.
6) Anna Lisa Tota (2013), “A Photo that Matter: The Memorial Clock in Bologna and its Invented Tradition”, in Olga Shevchenko (ed.), Double Exposure: Memory and Photography, Transaction Publishers, Piscaway, pp. 41-64.
7) Susie Linfield (2013), La luce crudele. Fotografia e violenza politica, Contrasto Edizioni, Roma, pp. 10-46.
8) Merskin, Debra (2004), “Reviving Lolita? A Media Literacy Examination of Sexual Portrayals of Girls in Fashion Advertising”. American Behavioral Scientist 48, pp. 119-128
The articles and essays will be available for the students on the website http://filosofiacomunicazionespettacolo.uniroma3.it (personal webpage) and on the Moodle page of the course.
Type of evaluation
The exam will be written and it will last two hours. The students will be asked to answer extensively to three questions. Moreover, the students will have the possibility (but this additional part is not mandatory) to take part during the course to a workshop that will consist of: 1) an analysis of selected advertisements images or campaigns and 2) the presentation of the analysis in class through a powerpoint presentation realized by the students in groups. This additional work will be evaluated with a mark (from 0 to 2) that will be summed to the mark obtained in the written exam.