Tuesday, November 10, 2009

term-paper for VIS 158: Histories of Photography

VIS 158:Histories of Photography
Fall 2009

Professor Lisa Bloom
lbloom@ucsd.edu



Classroom: Center Hall 214
Lecture TuTh 11-12:20 p.m.
Office hours: Tues. 1:30 – 2:30 (Schedule appt. via e-mail)
Office: MAN 229
Course Readers: Gretchen M. Gordon:gmg@ucsd; Glenna Jennings: gjennings@ucsd.edu; Louis Schmidt:lms@ucsd.edu; Rich Bott:rbott@ucsd.edu



TERM-PAPER ESSAY SCHEDULE

Answer one of the following four questions. Your essay should be handed in on November 24th in class. It should be 5 pages in length, typed and double-spaced. Your essay should cite at least two different authors from the course reading.
You will be graded on your argument (make sure it is convincing), your understanding of the course readings and discussions, as well as the originality of your essay and examples. Remember that this is meant to be an analytical paper, not a synthesis of the course readings and discussions. Also make sure you carefully proofread your essay.


1. Write a paper comparing and contrasting the life’s work of two photographers whose work you admire and have created historically significant images. This paper is not to be a biographical analysis detailing the birth and formative years of the photographer’s life. Rather, it should be an in-depth analysis of the photographer’s photographs. Choose photographers whose work has had a profound capacity to trouble and interfere with our memories, as either individuals or as a nation. Use specific images to make an argument about their work. Try to link your analysis to larger themes about the role of the camera image in the production of history and memory. Please attach xeroxes of the images that you are focusing on. You should choose photographers that are from your reading between October 27th – November 24th.

2. Using your own family album, analyze how family snapshots, albums, and home videos reinforce societal norms about the family. Consider what kind of family events are considered important enough to preserve and why? What kind of events are omitted or left out? Who is the “keeper” of the family’s history? Speculate on how does censorship and forgetting take place in families? In what forms does it take? How do these forms of self-representation mirror normative gender relations in the world at large? Think of this in terms of the relative status of various family members, such as mothers and fathers, men and women, parents and children. Under what circumstances are family photos brought out? To whom are they shown? Relatives? Friends? Strangers? In showing others these personal images, what are we saying about ourselves? Through these photos examine the kinds of values embodied or expressed through these photographs? How do the photos embody values that have to do with power relation as expressed through gender, sexuality, race, and class? Support your ideas with references to the course readings. Your analysis should examine how censorship, forgetting, remembrance, and mythmaking take place in families (Note: The attached photos should be xeroxes, not original photographs.)Please see the following course reading in PR: Rosy Martin and Jo Spence, “Photo-Therapy: Psychic Realism as a Healing Art?” 402-409; bell hooks, “In our Glory: Photography and Black Life,” 387-394. Also, see in PCH: 457-473.

3. What role do images and texts play in shaping and creating our shared memory of the past? Choose one of the following sets of documentary films to compare: (1) Night and Fog / History and Memory (2)Night and Fog/ Ghosts of Abu Ghraib. Identify topics, ideas, methods in which these films speak to each other. Possible topics can include: remembering and forgetting within families from different cultures/ historical traumatic events underlying family stories told (the Japanese internment camps); Ideally you will briefly sum up the argument of each film examined as well as bring forward your own critique comparing the two films supported with examples. Also link your discussion with the work of relevant class readings. Discuss key terms and concepts that were important to understanding the form and content of both documentary films. What approach does each film take towards the history of photography as explored by the class? How do these films relate to some of the photographs that you’ve read about or seen in class (when relevant)? What connections are there between these films and others that you have seen this quarter? Please see the following course reading: PCH 296-305; 326-334359-365. From PR, see: Martha Rosler, “In, Around, and Afterthoughts (On Documentary Photography,” and John Berger, “Photographs of Agony.” Additional reading on reserve includes: Ewout van der Knaap Uncovering the Holocaust: The International Reception of Night and Fog (2006) and Marita Sturken, “Absent Images of Memory: Remembering and Reenacting the Japanese Internment,” in Perilous Memories, pp. 33-49.


4. If you were to make a set of photographs based on what you have learned so far in the this course, what would the topic be and how would you approach it? Reflect upon the ways in which photography can be used for different purposes (telling family stories, remembering historical events, showcasing people whose stories would not otherwise be told, bearing witness to the action and destruction of war, etc.) Discuss the possibilities of your photographs compared to other forms such as films or non-audiovisual materials. In which ways will the photographs help you to achieve your goals of expression? What are the difficulties or problems? Discuss these questions in connection with concepts from the history of photography developed in the course reading and lectures. You might also want to think on the limitations and problems of photography, the use of digital cameras, texts, etc. Support your ideas with references to the course reading. If you want to make photographs for this assignment, make sure that you do not hand in your only copies.


Following is a checklist of questions, addressing specific issues of content, organization, and stylistics. If you find that your answer is "no" to any one of these questions, then you need to rework your essay for improvement in that specific area.

Revision Checklist
1. Does the paper begin in a way that draws the reader into the paper while introducing the topic?
2. Does the introduction provide some general overview that leads up to the
thesis?
3. Do your supporting paragraphs relate back to your thesis, so that the paper
has a clear focus?
4. Do your body paragraphs connect logically, with smooth transitions
between them?
5. Do your supporting paragraphs have a good balance between general points and specific, concrete evidence?
6. If you've used secondary sources for your evidence, do you attribute them adequately to avoid any suspicion of plagiarism? (See Documenting Sources hand-out)
7. If you've used quotations extensively, have you avoided having quoted material overpower your own writing?
8. Does your last paragraph give your readers something to think about rather than merely restate what you've already said elsewhere in the essay?
9. Have you chosen your words aptly and sometimes inventively, avoiding clich├ęs and overused phrases? (See the Rules for Better Writing on the last page of the Documenting Sources hand-out.)
10. Have you proofread carefully to catch any grammatical problems or spelling errors?
11) Have you used footnotes properly and included a “works cited” page? (See Documenting Sources hand-out)

Additional Suggestion
Read your prose out loud to yourself, to catch any awkward or unnatural sounding passages, wordy sentences, grammatical glitches and so on.

NOTE: In answering any one of the above questions, be sure to support your opinions with arguments based on your reading of the set texts. References to the articles, should, of course, be footnoted. Feel free to cite texts other than those in the Course Reader, but these should be additional to the given readings, not in place of them. Support your argument with examples. Please be sure to hand in your papers on time. Late papers will be marked down.

Wednesday, September 23, 2009

VIS 158: Histories of Photography

VIS 158: Histories of Photography
Fall 2009

Professor Lisa Bloom
lbloom@ucsd.edu



Classroom: Center Hall 214
Lecture Tu-Th 11-12:20 p.m.
Office hours: Tues. 2:00 – 3:00 (Schedule appt. via e-mail)
Office: TBA
Course Readers: Gretchen M. Gordon:gmg@ucsd; Louis Schmidt:lms@ucsd.edu; Rich Bott:rbott@ucsd.edu


The course will provide a selective overview of the history of photography from pre-photographic times to the present concentrating mostly on developments in the United States and Europe. Given that there is no single history but only histories of the medium, this course will reflect upon the ways in which photography can be thought of in the context of art history, media history and social history. This includes how photography can be used historically for telling family stories, remembering historical events, showcasing people whose stories would not otherwise be told, bearing witness to the action and destruction of war, documenting famine and disease, etc. The course will also examine photographic practice in relation to art and its role in the development of advertising, fashion, science, and consumer culture. Though the course will utilize a general chronological framework, it will also make connections between past and present throughout the quarter. The first half of the quarter will be devoted mostly to providing a background in the history of photography until World War 1I. The second half of the quarter will be devoted to the role of photography within 20th century modern/postmodern art and consumer culture from the 1920s to the present.

Grading:
25% Mid-term
35% Term paper (take-home)
35% Final
5% Attendance and class participation

Academic Honesty:
--All work for this course is assumed to be your own original work. If your work does not fulfill this requirement you will be failed for the entire quarter without recourse. Please familiarize yourself with the UCSD Student Code of Conduct. Amy student who submits plagiarized material in any form will be subject to disciplinary action by the Dean of Student Affairs.

Required Course Requirements:
-- Classes will be a mix of lectures, slide presentations, and discussions of readings and films, so your attendance and informed participation are essential.

-- Mandatory attendance for class discussions. Roll will be taken for each class. Do not forget to sign in or you will be marked as absent. Participants are allowed two unexcused absence. More than two unexcused absence will result in a lowered grade.

--In order to receive an “A” in this class you must not only attend class regularly but complete the final and midterm exams and one take- home paper in a timely and highly competent manner. You must also produce work that demonstrates additional initiative on your part (e.g., outside reading and research). For your take- home essay you will be graded on your argument (make sure it is convincing), your understanding of the course readings and discussions, as well as the originality of your essay and examples. Remember that this is meant to be an analytical paper, not a synthesis of the course readings and discussions.

--The mid-term and final are based primarily on material presented in the course lectures and the course readings. The exams consist mostly of short, in-class essay questions. In lectures be especially attentive to those concepts that are presented as a series of key points or characteristics as well as illustrations that involve “compare and contrast” relationships.

-- There will be one take-home term paper. Topics will be handed out in class generally 10 days before the paper is due. (If you miss class that day, contact the instructor.) Papers will be (5 pages long) on a topic assigned in relation to class readings, film, and discussions. All assignments must be completed by deadlines given. Late take-home term paper will be marked down ½ letter grade per-day No late assignments will be accepted without a verified written explanation from parents or doctor.

--The dates for the final and midterm exams are fixed: make any travel plans accordingly. In a class of this size it is very difficult to schedule make-up exams. The only acceptable excuses are directly overlapping final exam times for other classes (verified with proof of enrollment), or medical or family emergencies (verified with a written explanation from your parents or doctor). In the event of overlapping final exams you must notify the instructor at least four weeks in advance of the scheduled final. The dates and times for all final exams are posted on the UCSD “Tritonlink” website. Travel plans, whether for vacations or study abroad trips, are not valid excuses for missing an exam and no make-up exams will be scheduled to accommodate these.

--There are no “extra-credit” assignments in this class. If you feel that you are not doing well or are falling behind in the class do not wait until the end of the term to contact the instructor; schedule a meeting as soon as possible to discuss your concerns.

--Take very complete notes during class. The instructor will not provide you with lecture notes if you miss a class. If you miss a lecture it is your responsibility to find a fellow student who will share their notes with you.

Required Text Books:

(1) Mary Warner Marien, Photography: A Cultural History, second edition (PCH) available in the Price Center Bookstore.

(2) Liz Wells, ed. The Photography Reader (Routledge, 2003 (PR) available in the Price Center Bookstore.

All readings are in either the Photography Reader or part of the required book (Mary Warner Marien, Photography: A Cultural History, second edition (PCH)

Recommended Photography Exhibition:

Please consider visiting the Museum of Photographic Arts, located in Balboa Park (in the Casa de Balboa Building), where you can see original prints by some of the photographers we’ll be discussing in class. For more information see the MoPA website: http://mopa.org/. Current shows include: Picturing the Process: The Photograph As Witness.





Outline of the Course:

1. Sept. 24: Introductions, definitions of key terms, etc.
PCH: xiii-xv
PR: Walter Benjamin, “Extracts from the Work of Art in the Age of Mechanical Reproduction,” 42-52.
Screening in class: Ways of Seeing, part 1. (John Berger, 30 min.)

2. Sept. 29: Prehistories and Inventions
PCH: 1-32
PR: John Szarkowski, “Introduction to the Photographer’s Eye,” 97-103.

3. October 1: Photography, Science, and Race
PCH: pp. 32-44, 152-157; 222-225
Screening in class: Excerpts from The Life and Times of Sara Baartman (Zola Maseko, 1998, 52 min.)

4. October 6: Photography and Colonial Expansion
PCH: 116-127, 140-143, 217-222
PR: Catherine Lutz and Jane Collins, “The Photograph as an Intersection of Gazes: the example of National Geographic, 354-375.
Screening in class: On Cannibalism (Fatima Tobing Rony, 1994, 8 min.),

5. October 8: Gender and 19th Century Photography
PCH: 93-98
PR: Liz Wells, “The Photographic Gaze,” 324-326; Lucy Lippard, “Doubletake: The Diary of a Relationship with an Image,” 343-353.
Screening in class: Ways of Seeing, part 2 (John Berger, 30 min.)

6. October 13: War and Industrialization: The Civil War, The Crimean War and the Mexican Revolution
PCH: 46-50, 99-115

7. Oct. 15: Photography as Fine Art: Pictorialism to the Photo-Secessionists
PCH: 85-93; 170-192

8. October 20: Documenting History: Urban Reform Culture,
the Farm Securities Administration and the Rise of Photojournalism
PCH: 201-208, 225-234; 276-288.
Screening in class: Excerpts from Walker Evans, America (1999, 57 min.)

9. October 22: Photography Between the Wars: Dada and Surrealist Interventions
*Mid Term Essay questions handed out in class
PCH, 235-250
PR: Ossip Brik, “What the Eye Does Not See,” 90-92; Laszlo Mololy-Nagy, “A New Instrument of Vision,” 92-96.
Screening in class: The Decisive Moment: Henri Cartier-Bresson (1973, Sheila Turner, 18 min.)

10. October 27: Photography and the Avant-garde of the 1920s and 1930s:
PCH: 250-276.
PR: Edward Weston, “Seeing Photographically,” 104-108.
Roberta McGrath, “Rereading Edward Weston: Feminism, Photography, and Psychoanlaysis,” 327-337.
Screening in Class: Frida Kahlo and Tina Modotti, (Laura Mulvey and Peter Wollen,1983, 29 min.)

11. October 29: Midterm Exam

12. November 3: Photography and World War II: After-Images of the Holocaust
PCH: 296-305
Screening in class: Night and Fog (Alain Resnais, 1955, 30 min.)

13. November 5: Photographing the Atomic Bomb and Remembering and Reenacting the Japanese Internment
PR: 268-276; 326-334
Screening in Class: History and Memory (Rea Tajiri, 1991, 32 min.),

14: November 10: From the Family of Man to Robert Frank’s photography
*Questions for Term Paper handed out in class
PCH, pp. 307-310, 334-344
PR: Karin E. Becker, “Photojournalism and the Tabloid Press, 291-308.
Screening in class: Excerpts from American Photography: A Century of Images (1999)

15. November 12: Photography and the New Social Concern: Lecture by Ruth Wallen
PCH: 344-353; 410-417
PR: Martha Rosler, “In, Around, and Afterthoughts (On Documentary Photography),” 261-274.

16. November 17: Photography, Pop Culture and Fashion: Lecture by Prof. Roddey Reid
PCH: 354- 359; 364-371

17. November 19: Memory, History and Family Photography
PCH: 457- 473
PR: Rosy Martin and Jo Spence, “Photo-Therapy: Psychic Realism as a Healing Art?” 402-409.
bell hooks, “In our Glory: Photography and Black Life,” 387-394.

18. November 24: Photography, the Vietnam War, and the Prison Photographs from Abu Ghraib
*Term Paper Due
PCH: 359-365
PR: John Berger, “Photographs of Agony,” 288-290.
Screening in Class: Excerpts from Ghosts of Abu Ghraib (Rory Kennedy, 2007, 78 min.)

Thanksgiving: NO CLASS (November 26)

19. December 1: Postmodernism, Feminism and the Culture Wars
PCH: 387-410; 434-8; 486-487
PR: Abigail Solomon-Godeau, “Winning the Game When the Rules Have Been Changed: Art Photography and Postmodernism,” 152-163.

20. December 3: Conclusion: Photographic Practice, Digital Photography, and Globalization
PCH: 489-512
PR: Lev Manovich, “The Paradoxes of Digital Photography,” 240-249.
Screening in Class: Seven Intellectuals in Bamboo Forest (Yang Fudong, China, 2008, 30 min.)

Final Exam: Wednesday, December 9th at 11:30am-2:30 pm

Tuesday, July 14, 2009

New articles by Lisa E. Bloom

Please see my new article on Eleanor Antin that just came out in the British international feminist art journal n.paradoxa. The article is titled, "Tableaux Vivants, Dying Empires: Eleanor Antin’s The Last Days of Pompeii, Roman Allegories and Helen’s Odyssey (2001-2007)" and appears in a special issue on "Material Histories, n.paradoxa, volume 24, July 2009, pp. 13-21. A copy of the journal can be purchased through KT Press at: http://www.ktpress.co.uk/nparadoxavolumes.htm.

Another article I recently finished titled,“Negotiating Feminisms in Contemporary Asian Women's Art,” will be coming out in The Feminism and Visual Culture Reader (Sight: Visual Culture) by Amelia Jones (Routledge, London), second edition, publication date 12/15/2009 but available for pre-order at Routledge: http://www.routledge.com/books/The-Feminism-and-Visual-Culture-Reader-isbn9780415543705.