Module Identifier AH30820  
Academic Year 2004/2005  
Co-ordinator Mr Christopher P Webster  
Semester Intended for use in future years  
Next year offered N/A  
Next semester offered N/A  
Other staff Mrs Belinda J Marking  
Course delivery Lecture   Lecture/Seminars : 20 hrs  
  Seminars / Tutorials   3 x tutorials  
  Other   Study Time: 177 hrs (General reading, Essay preparation, and Examination revision)  
Assessment TypeAssessment Length/DetailsProportion
Semester Exam2 Hours  50%
Semester Assessment Essay: 5000 words minimum to 7,000 words maximum Both assessed elements must be passed. Only the failed component need to be resubmitted50%

Learning outcomes

On successful completion of this module students should be able to:
1. research and compose an essay that clearly demonstrates an ability to contextualize, reflect upon, and critically appraise an aspect of contemporary photographic practice (Aims: A, B, C, D, E, F, G, H, I)
2. formulate ideas and opinions in a substantiated and orderly manner (Aims A,B,C,D,E,F,H,I)
3.   analyse particular photographs in order to show an informed awareness of their possible reading (Aims:A,B,C,D,E,F,I)
4.   critique specific approaches to the medium of photography and contextualise these approaches in relation to the work of lens based artists (Aims:A,B,C,D,E,F,G,H,I)

Relation to Assessment
Outcomes 1,2,3 & 4 are assessed through the extended essay (50%) and the examination (50%)

Brief description

This module examines the development of applications of photography to fine art since 1945 to the present time. It encapsulates the changes in imaging associated with genres such as landscape, documentary, self-portraiture, ethnicity and gender issues. It closes with the advent of digital photography as a new fine art tool. The period is examined in relation to changes in critical thinking particularly semiotics and the applications of specific theories to the photographic form


A. study the development of specific applications of photography from around 1945 to the present
B. develop convictions regarding the debates surrounding contemporary photographic practice
C. cultivate an ability and confidence to examine and compare ways in which photography is discussed and written about
D. develop a critical apparatus and criteria to evaluate specific images
E. sharpen students powers of judgement
F. form ideas relating to the interconnectedness of visual art disciplines
G. develop a specific program of research and a research methodology
H. undertake a systematic inquiry within a prescribed framework
I. form and test hypotheses


This structure is given for guidance only:

1 Introducing the course and issues
2 Exhibition visit/review 1
3 Reading photography (directorial, Symbolistic and Reportorial)
4 Photography in the School of Art collections
5 National Library of Wales collections
6 Case study (select British artist)
7 Case study: Diane Arbus
8 Case study: Martin Parr
9 New Land(scapes) for Old - new topographics
11 Landscape as mirror and window
12 On Photography: critical approaches
13 Case study: South Africa - photography, politics, race
14 Imaging the `other-: photographic politics
15 Exhibition visit/review 2
16 Women and the camera
17 The post-modern self: identity and the camera
18 Case study: Nan Goldin
19 Media and cyber culture
20 Italian photography in the School of Art collection
21 Exam preparation

Skill Development

Transferable skills

Reading Lists

Coleman, A. D (1998) Depth of field : essays on photography, mass media, and lens culture Albuquerque, NM : University of New Mexico Press
H. Gernsheim (1971) Concise History of Photography London: Thames and Hudson
Kember, S., (1998) Virtual anxiety: photography, new technologies, and subjectivity Manchester & New York : Manchester University Press,
Beaumont Newhall (1982) A History of Photography New York: Museum of Modern Art
Aaron Scharf, (1986) Art and Photography New York: Penguin
Jeffery, I. (1981) Photography: A Concise History London: Thames and Hudson
Malcolm, J. (1980) Diana and Nikon David and Godine
Mitchell, W.J., (1994) The reconfigured eye: visual truth in the post-photographic era Cambridge, Mass. : MIT Press,
Sontag, S (1979) On Photography London: Penguin
Barrett, T.M., (2000) Criticizing photographs : an introduction to understanding images London : Mayfield Pub. Co
Barthes, R. (1982) Camera Lucida London: Cape
Barthes, R (1985) The responsibility of forms: critical essays on music, art and representation


This module is at CQFW Level 6