Visual Theory 2
Name of lecturer(s)
Marla Beth LAZROE
Learning outcomes of the course unit
By the end of the course students will:
-present and build a basic working vocabulary with which to discuss, and write about, the way visual images, particularly photographs, are constructed;
-be able to identify and understand the visual functions of each of these elements in terms of their desired effect or impact on viewers;
-be able to analyse, explore and question the relationships between the image-maker, viewer, subject and commissioning agent; and
-tbe able to analyse, explore and question various functions of images;
-consolidate the above material in the context of contemporary uses of images.
Mode of study
Prerequisites and co-requisites
It is suggested students visited Visual Theory I.
Newcomers are accepted when there is a vacancy.
This is a follow-up course to Visual Theory 1 and continues the exploration of the structural components or unconscious and subconscious building-blocks of visual images, how they work and how filmmakers, photographers and other visual artists manipulate them in different ways to provoke specific reactions from viewers. This course concentrates mainly on design elements.
Students are given simple practical and theoretical assignments to enable them to see the effects and dynamics of the individual elements for themselves and the option of creating an “image sketchbook” during the semester. It is in lecture/seminar format and illustrated with photographic and cinematographic examples from both classical and contemporary image-makers.
Recommended or required reading
LAZROE, Beth. Photography as Visual Communication, a curriculum. Prague: FAMU, 1998.
BERGER, John. Ways of Seeing. London: BBC and Penguin Books Ltd., 1972.
BORDWELL, David, THOMPSON, Kristin. Film art: an introduction. 7th ed. New York: McGraw Hill, 2005. 532 s.
DOWLING, John; MOHAMADI, Ali, SREBERNY-MOHAMMADI, Annabelle. Questioning the Media: a Critical Introduction. London: Sage Publications, 1995.
HALL, Stuart. Representation: Cultural Representations and Signifying Practices. Milton Keynes: The Open University, 1997.
FISKE, John. Introduction to Communications Studies. 2nd edition. London and New York: Routledge, 1990.
HAYWARD, Susan. Cinema Studies: The Key Concepts.New York: Routledge, 2000.
The Film Studies Reader. Eds. HOLLOWS, Joanne; HUTCHINGS, Peter, JANCOVICH, Mark. London: Arnold, Hodder Headline Group, 2000.
JUNG, Karl et al. Man and His Symbols. 2nd ed. London: Picador, Pan Books Ltd., 1980.
Psychoanalysis & Cinema. Ed. KAPLAN, E. Ann. New York and London: Routledge, 1990.
KUHN, Annette. Cinema, Censorship and Sexuality. London and New York: Routledge, 1988.
LAZROE, Beth. Perception, Culture, Representation and the Photographic Image. Ljubljana: World Young Photography, 1997.
MAALOUF, Maalouf. On Identity. London: The Harvill Press, London, 2000.
PRICE, Stuart. Media Studies, Pitman Publishing, London, 1994.
BORDWELL, David, THOMPSON, Kristin. Film History: an Introduction. 2. vyd. New York: McGraw Hill, 2003. 788 s. ISBN 0-07-038429-0.
THOMPSON, Kristin. Storytelling in the New Hollywood: understanding classical narrative technique. Cambridge: Harvard University Press, 2001. 398 s. ISBN 0-674-83975-7.
The Art of Photography. Nederland: Time-Life International, 1973.
WEBSTER, Frank. The New Photography, Responsibility in Visual Education. New York: Riverrun Press, 1985.
Assessment methods and criteria
Minimum required attendance to the class is + 70%
The course grade will be calculated as follows:
assignments/class participation 40%,
Final essay examination – 50%
Assessment will be based on (1) how well students are able to apply the material presented and discussed each week in lecture to images chosen and, for classwork assignments, written about by the students; (2) a final examination essay, to be developed related to lecture material and illustrating points and ideas with published images of students' own choice. Because (1) requires class participation, without which students will not understand the requirements for the written work for both the homework assignments and the exam, attendance is an integral part of this grade.
Initial weekly seminars will be based on homework assignments, where students will either take or submit published photographs or images of their choice, sometimes together with a short essay. Assignments are therefore required to be submitted on time. Students are expected to inform the lecturer in advance if they will be late in fulfilling an assignment (up to one week after it is due); late work will not be accepted unless this is done. No student who has not submitted homework assignments will be permitted to take the final examination.
Students are also expected, as a basic courtesy, to inform the lecturer in advance if they expect to be late or absent, or the absence will not be excused. A maximum of 3 excused absences is permitted; otherwise credit may not be given and/or students not allowed to take the final exam.
Mobile telephones except in emergency situations and by prior arrangement will not be tolerated in class.
Schedule for winter semester 2021/2022:
The schedule has not yet been prepared
Schedule for summer semester 2021/2022:
Room No. 2
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Wed||19:50–21:25||Marla Beth LAZROE||Room No. 2
The subject is a part of the following study plans
- Academy Preparation Program - Cinematography (optional subject)
- Academy Preparation Program - Animated Film (optional subject)
- Academy Preparation Program - Directing (optional subject)
- Academy Preparation Program - Documentary (optional subject)
- Academy Preparation Program - Editing (optional subject)
- Academy Preparation Program - Photography (optional subject)
- Academy Preparation Program - Screenwriting (optional subject)
- Production Team Studies (optional subject)