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).
teacher profile teaching materials
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.
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 JEDLOWSKI ALESSANDRO
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 be divided into five teaching modules: (1) What is photography? Theories and methods; (2) The “stories” of photography, the photographs of history; (3) Gender and race in advertising image ; (4) Photography and memory from analog to digital; (5) Visual communication and violence. 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) 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.
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 is held every Tuesday, Wednesday and Thursday from 9am to 11am, from November 8th to December 13th, in room 2.14 - except for November 9th (room 8) and November 22nd and 29th (room 3). The course takes place both face-to-face and online, on TeamsAttendance
Attendance is not compulsoryType 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.