Photography II

Code:

F502

Acronym:

F 2

Keywords
Classification	Keyword
CNAEF	Design

Instance: 2019/2020 - 1S

Active?	Yes
Web Page:	http://esquerdadireitaesquerda.wordpress.com
Responsible unit:	Design
Course/CS Responsible:	Communication Design

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
DC	21	Plano Oficial do ano letivo 2017	3	-	4,5	64	121,5
			4

Teaching language

Portuguese

Objectives

Photography as a practice of observation, as the only act in which one operates and reasons, through an essentially visual and intelligible faculty to construct a narrative repertoire.
Photographing may cause multiple reflections. In the sense of reality, that is, in the direction of the true and the illusory, or also in the direction of time. It gives us a strong opening of the gaze to the daily texture, or it brings us back to a vision of the past. But it can also set a vision for the future.
In addition to its symbolic organization, photography as an entity carries information about the personal and social universe, giving it a knowledge-producing property.
Afotography as a form of re-interpretation of the literature, is transmitted as a process of "connection" with a hidden or implied theme and, to this extent, it is a structure of implicit enunciations.
The photograph refers us to the field of reading, and may be associated with a text, which will assign a complementary meaning to the discourse, connecting the message with the hidden information. We can thus conceive a conjuncture of discourse in which the photographs are based on an involvement with the written and / or spoken word.
To emphasize the specificity of photographic discourse, so that the total task of the photographic language can itself be transparent, and so that it can translate and prove reality and / or fiction, in the aesthetic sense and in a communication system of mediation between us and others.

Learning outcomes and competences

Apply the knowledge and techniques acquired in the UC of Photography I;
Being enabled to realize visual plans capable of converting the word into the image;
Capacity of observation for the construction of a symbolic cast capable of structuring a narrative from fixed and moving images, the photo-romance;
To be qualified in the edition, production and post-production of analog and / or digital visual devices in which photography is the predominant resource and language;

Working method

Presencial

Program

THE PHOTOGRAPHIC
The capacities and possibilities of photographic representation, in the sense of revelation and enunciation, by the process of assembling fixed photographic images in the direction of a film object;
The photographic sequence as a course in fictional time for conceptual development in narrative construction;
Photography, with play of light and shadow, serves to reconstruct the appearance and meanings of ideas, objects and emotions. It is not limited to rhetoric and / or inventory of things. It reveals what is not written in the condition and in the mediation of an ethical contract with society. The skills of the photographic make evident the creation of new formal typologies.

NARRATIVE PROJECT
Creation of symbolic castings from a written text (novel), capable of being constituted in a visual planning, like story-board;
Organization of a resource plan for photographic registration, lighting, props and decors;
Previous study of a literary object capable of being transformed into a photographic narrative;
The word and the photograph appear to us here proposed, to complement through the allusion or intuition, that which is behind the nature of each icon emanated from the photograph, through the points of evidence that it encloses;
Production and development of photographic repertoire in the studio and / or outdoors for later assembly and post-production with narrative continuity.

Mandatory literature

AUMONT, Jacques; A imagem. , Lisboa: Texto & Grafia., 2009
BAQUÉ , Dominique ; La fotografía plástica: un arte paradójico. , Editorial Gustavo Gili, 2003
BARTHES, Roland ; A câmara clara, Edições 70, 2006
BEAUMNT Newhall ; The History of Photography, MoMA, 1982
BENJAMIN, Walter ; Sobre arte, técnica, linguagem e política, Relógio d’Água, 1992
BERGER, John; MOHR, Jean ; Outra manera de contar, Editorial Mestizo (Palabras de Arte; 3), 1997
DELEUZE, Gilles ; A imagem-movimento: cinema 1, Assírio & Alvim, 2004
FRADE, Pedro Miguel ; Figuras do espanto: a fotografia antes da sua cultura, Edições Asa, 1992
Krauss, Rosalind ; O fotográfico, Editorial Gustavo Gili, 2002
NEWHALL, Beaumont ; Historia de la fotografia, Editorial Gustavo Gili, 2002
RIBALTA, Jorge ; Efecto real: debates posmodernos sobre la fotografia, Editorial Gustavo Gili, 2004
SEKULA, Allan ; – On the invention of photographic meaning. In Burgin, V. (Ed.), Thinking photography., The Macmillan Press, 1994
SONTAG, Susan ; Ensaios sobre a fotografia, D. Quixote, 1986

Teaching methods and learning activities

Qualitative and participative methodologies of visual analysis and production;
Vision and study of didactic objects such as films, books, written documents;
Organized exhibitions on the contents of the programs with respective documentary support. To adapt the photographic languages to the different technical and conceptual resources used, as well as to the meanings and objectives of the narrative project;
Use of synopsis, planning and production of the photographic project can be developed in partnership with several students, who should indicate their participation properly;
Production of a text that contextualizes the project after its production;
Identification of the variables and conditioners of models of photographic representation, such as light, space, movement to color, among others.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	10,00
Trabalho de campo	20,00
Trabalho laboratorial	30,00
Trabalho prático ou de projeto	40,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Elaboração de projeto	20,00
Estudo autónomo	10,00
Frequência das aulas	30,00
Trabalho de campo	20,00
Trabalho de investigação	20,00
Trabalho laboratorial	21,50
Total:	121,50

Eligibility for exams

75% of semester classes

Calculation formula of final grade

Criteria for continuous assessment:
Innovation and originality of the proposals presented;
Ability to analyze and contextualize the subjects studied;
Acuity and quality of the theme and project carried out;
Methodologies and feasibility of the proposals embodied in the project and its adequacy to the established schedule;
Active participation in class.

Examinations or Special Assignments

Do not apply

Internship work/project

Do not apply

Special assessment (TE, DA, ...)

Do not apply

Classification improvement

Do not apply