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1 BA in Journalism, Film & Media Module JOMEC BA in Journalism, Film & Media module JOMEC/MC3574 PHOTOGRAPHS REVISITED module tutor: Dr Daniel Meadows e-mail: [email protected] tel: 02920 874 000 ext 77241 Bute rm. 0.60A office hours: Wednesday mornings, 10.00 am - 12 midday website: http://www.photobus.co.uk year 2: semester two, 1 February - 15 April 2011 -------------- WHAT YOU HAVE TO DO You are required to tell a story about a Cardiff person (or group of Cardiff people) past or present. This story will be one of your own discovering, a narrative which reveals itself to you when you explore one or more of the many photographic archives which exist in or around, this city. The module has a practical element and it also requires you to develop techniques of photographic analysis and criticism. These you will be encouraged to apply imaginatively to the photographs you choose to study. Each week you will attend one lecture and one seminar/workshop. Away from the classroom you will be expected to research your project, make contacts with people outside the university, visit informants, search relevant photography archives and prepare your written material. You may, if you wish, conduct your research in pairs so long as the work you present at the end of the module is individually distinctive. For example: two of you might pool resources to research the same archive/s but you must not use that material to tell the same story. -------------- PHOTOGRAPHIC ARCHIVES, A DEFINITION In the context of this module the term 'archive' is used broadly, to include personal collections of family photographs, found objects like discarded wedding albums and bundles of charity shop postcards, as well as the more formal collections of photographs housed and catalogued in our museums and public institutions. -------------- ASSESSMENT By midday on Friday 15 April 2011 you will hand in one reflective log and one essay as follows: 50% of the marks will be awarded for your REFLECTIVE LOG. This will be a scrapbook with commentary. The log should include your lecture notes and research material including photocopies of and comments upon pictures. It should give a 1 proper account of (and reflection upon) your progress through the module, your adventure of discovery as you identify and research your chosen archive. You will need to make regular entries and record everything you do as your work progresses. Record all the efforts you make as you conduct your work; your interview questions, how people react to you, your thoughts on the process, your notes on the readings, your notes on the 'Genius of Photography' DVDs, all the highs and lows. 50% of the marks will be awarded for an ESSAY of 2,000 words. This will tell a story about your chosen set of photographs and the theoretical approaches which can be applied to them, their findings and your arrangement. You are required to make reference to the specific tools for making judgments about pictures (Barthes and Lester) which are discussed in class. Your story must connect your findings to the wider history of photography. -------------- DISCIPLINE It is important that you do not miss any classroom sessions. You are advised that if, through ill health or some other reasonable cause, you do have to miss a session, you must inform the tutor in advance. -------------- YOUR PROGRESS THROUGH THE MODULE... ...might go something like this. Following the first lecture your pressing need will be to find an archive to trawl and, from it, a subject to study. So, you might begin by visiting one of Cardiff's 20 public libraries. Find them listed at: http://www.cardiff.gov.uk/libraries/content.asp?nav=2868,2970,4769&parent_directo ry_id=2865 There you might search in the local reference section looking for clubs and societies attended by people who share your own interests. Cardiff Central Library's leisure activity database: http://apps2.cardiff.gov.uk/leisureactivities/welcome.php?lang=ENG Let's say you are interested in meeting people who go salsa dancing. Having found a contact phone number or an address in the library, you might make an approach to the secretary of the Cardiff Latin American Dancing Association and ask to see any photographic records which record people salsa dancing in Cardiff. In the company of the club’s archivist (who probably won't think of him/herself as an archivist and the archive itself may be just a few old photo albums or a shoebox stuffed with prints) you will then look at the pictures and listen for the stories which are told about them. 2 EXAMPLE: you might, for instance, notice that quite a lot of the pictures you are seeing date from the 1950s and were taken (say) in a club in Butetown. You might then wangle yourself an invitation to attend a salsa dancer's club night when some of the older members are present. You will encourage people to tell you stories, stories that relate specifically to pictures. You will listen to the stories and take a lot of notes. Information gleaned might then lead you to (say) the Butetown History & Arts Centre where is stored on disc a large archive of pictures about life and entertainment in Cardiff's dockland ('Tiger Bay'). Your researches might then give you a wider context for whatever story it is that you now see emerging -- perhaps the salsa dancers you have spoken to were also one-time cruise ship entertainers, or they worked as stewards in the merchant shipping fleet -- so that, before you know where you are, you will find yourself trawling the archives of the National Waterfront Museum in Swansea where are stored huge numbers of pictures relating to Welsh maritime history. And so on. As the semester progresses you will, from attending the lectures, learn some of the many ways in which photographs can be understood. You will also learn some criteria for making judgments about photographs. During the seminar sessions you will share your experiences of researching your stories with other students on the module, in this way knowledge can be pooled and your skill-set will expand -------------- FEEDBACK It is expected that you will, from time-to-time, seek a one-to-one tutorial with the module tutor to get feedback on your work-in-progress. -------------- LECTURE SCHEDULE Lectures take place in Bute rm. 1.50 on Tuesdays, 1.00-2.30 pm 1. 1 February 2011: Introduction to the module. Seminar groups are decided. What is an archive? List of some local archives. Example of an outline for your progress through the module. 'Albert Smith' by Graham Smith (story as told in Granta 95, 'Loved Ones'). 2. 8 February 2011: Making judgments about pictures using criteria suggested in 'Camera Lucida' by Roland Barthes, and in 'Visual Communication' by Paul Martin Lester. Case study: Martin Parr: 'The Last Resort'. Introduction to your principle guides for the module: Tate Britain's: 'How We Are, Photographing Britain: 1840 to the present', (we look at some of its delights, Charles Jones etc.); BBC 4's 'The Genius of Photography'. 3. 15 February 2011: Camera and Film Formats in documentary photography. Meyerowitz on formats from 'The Genius of Photography 4'. Bruce Davidson: 'East 100th Street'. Meadows: 'The Shop on Greame Street'; Parr and Meadows: 'June Street'... and what happened next. 4. 22 February 2011: A History of Photography in Britain part i. From William Henry 3 Fox Talbot to Eadweard Muybridge: 'The Genius of Photography 1'. Story: Muybridge, Flora, Helios, Larkyns, Pendegast. 5. 1 March 2011: Case study: 'National Portraits' and 'The Bus', an English photo archive from the 1970s by Daniel Meadows. 'The Genius of Photography 2' (August Sander). 'The Genius of Photography 5' (Diane Arbus). 6. 8 March 2011: A History of Photography in Britain part ii. 'The Genius of Photography 1' (Carte de Visite, George Eastman and Kodak, the vernacular). Postcards. Garffild Lewis: 'Ync'. BBC 'Capture Wales': repurposing the nation's family archive. 'How We Are' (Percy Hennell). The Trachtenburg Family Slideshow Players. 7. 15 March 2011: A History of Photography in Britain part iii. Picture magazines: Picture Post. Layout, pace, some lessons about design. Haywood Magee. 'The Genius of Photography 2' (Bill Brandt): 'The English at Home'. 8. 22 March 2011: Archive Ecstasy: Stephen Poliakoff's 'Shooting The Past'. 9. 29 March 2011: A History of Photography in Britain part iv. How the snapshot informed street photography. 'The Genius of Photography 3' (Cartier-Bresson). 'The Genius of Photography 4' (Robert Frank, Tony Ray-Jones). 'How We Are': (Sir John Benjamin Stone, Homer Sykes). 10. 5 April 2011: A History of Photography in Britain part iv. How art photography rediscovered the snapshot. 'The Genius of Photography 5' (Larry Clark's 'Tulsa', Richard Billingham's 'Ray's a Laugh'). Nick Waplington's 'Living Room'. -------------- SEMINAR SCHEDULE Seminars take place on Tuesday mornings in Bute rm. 1.26 and last one hour. Two groups. They commence in teaching week 2 (8 February 2011). You must sign up either for Group 1 at 9.00 am, or Group 2 at 11 am. 1. 8 February 2011: How to do this module: your questions answered. 2. 15 February 2011: Planning your approach. 3. 22 February 2011: NO SESSION THIS WEEK, YOU HAVE SOME TIME TO DO ORIGINAL RESEARCH. 4. 1 March 2011: More planning in the light of what you have learned so far. 5. 8 March 2011: NO SESSION THIS WEEK, YOU HAVE SOME TIME TO DO ORIGINAL RESEARCH. 6. 15 March 2011: Student presentations of work-in-progress including group discussion. 7. 22 March 2011: Student presentations of work-in-progress including group discussion.
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