Module specification
1. Factual information
Module title
OUPH504 Photograph as Representation
Level
5
Module tutor
Ross Williams
Credit value
30
Module type
Taught
Notional learning
hours
300
2. Rationale for the module and its links with other modules
This module will explore the issues surrounding the ethics and politics of working as a lensbased practitioner. Understanding cultural and social contexts for photographic images is vital
as a practitioner when considering the representation of subjects photographed. An awareness
of a range of issues relating to conventions and expectations within photographic genres is
essential when anticipating audience engagement. The content of this module will inform the
development of practice and theory within modules at Level 6.
3. Aims of the module
To enable students to understand potential shifts in the interpretation of images through
historical and contemporary perspectives.
To ensure students engage with the political, cultural and social issues of image theory.
To enable students to consider the political/moral responsibilities and cultural implications of
working as a lens based practitioner.
To consider the ethical issues relating to the representation of subjects within images.
To apply a range of research methods, analysis and critical evaluation of theories and
practices appropriate to individual students interests.
4. Pre-requisite modules or specified entry requirements
As those required for entry to level 5
5. Intended learning outcomes
A. Knowledge and understanding
Learning and teaching strategy
At the end of the module, learners will be
expected to:
Tutorials: To reinforce individual understanding
and ensure that the knowledge learnt and skills
used are relevant and contextualised.
5A8 – Demonstrate knowledge of the changing
roles and responsibilities of a lens-based
practitioner working within contemporary and
historical contexts.
5A9 – Demonstrate an understanding of the
visual language of the photographic image in
relation to the communication of ideas, audience
and cultural contexts.
B. Cognitive skills
At the end of the module learners will be
expected to:
Critiques: To enable students to relate their
work to a growing awareness of the link between
theory and practice.
Lectures: To introduce a range of theories and
concepts. To develop skills in debate and to
provide a supportive framework for theoretical
concepts.
Seminars: To develop awareness of relevant
theories and concepts within a supportive
framework.
Learning and teaching strategy
Private Study: To develop student learning
autonomy and ownership of the knowledge and
information gained during the module.
5B7 – Generate ideas, concepts and solutions in
Tutorials: To support the development of
response to a brief that demonstrates the
application of contextual knowledge and
practical and conceptual approaches to problem
understanding of ethical practices and industry
analysis, idea generation and development.
expectations.
C. Practical and professional skills
Learning and teaching strategy
At the end of the module, learners will be
expected to:
Tutorials/Peer review: To recognise individual
interests and identify appropriate pathways for
development.
5C7 – Select and justify the use of appropriate
techniques and technologies for the competent
production of images to enhance concepts and
realise creative intentions.
D Key transferable skills
At the end of the module, learners will be
expected to:
5D7 – Recognise the role of professional skills
throughout the development of a self devised
project from conception to final outcomes.
Studio Work: To develop practice alongside
other students within a climate of mutual
theory/practice engagement.
Private Study to develop students’ learning
autonomy and ownership of the ideas/work
during the module.
Learning and teaching strategy
Independent Study - to develop individual
areas of interest and methods of self-evaluation
appropriate to the documentation of personal
development in support of personal
performance.
Critiques: To enable students to relate their
work to a growing awareness of industry
practices.
6. Indicative content
Students will consider their role as a lens-based practitioner in light of ethical and moral viewpoints.
A diverse range of images that create debate around the role and ethics of photography will be
examined within contemporary and historical contexts. Examining the potentially shifting
perspectives on images through time. Students will be asked to consider the roles and
responsibilities of the Photographer through the production of a body of work. Practical work will be
supported by a written critical response to the issues surrounding image production and the
politics/ethics of representing subjects. The module will examine photographs from a range of
genres to ensure students gain an awareness of different audiences and cultural contexts. Students
will be required to expand their practice through potentially working collaboratively and/or
contacting people externally. Professional practice will be encouraged and used to ensure
appropriate paperwork is produced. (eg, model release forms, permits for photographing and an
awareness of legal/moral issues when accessing locations and sites).
7. International Dimension
In today’s society Photographic practices and ethics transcend geographical and cultural
boundaries. It is important to have an awareness and understanding of the political context and
implications for producing images for worldwide distribution.
8. Assessment strategy, assessment methods and their relative weightings
Formative assessment
Tutorials, workshops and peer review.
Summative assessment: 100% portfolio
(Including visual and written outcomes)
9. Mapping of assessment tasks to learning outcomes
Learning outcomes
Assessment tasks
5A8
5A9
5B7
5C7
5D7
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Portfolio
10. Teaching staff associated with the module
Name and contact details
Ross Williams - [email protected]
11. Key Reading list
Author
Year
ESSENTIAL
Bogdan, R.
2012
Burbridge, B.
ed.
Dufour, D. ed.
2015
2015
Title
Publisher
Location
Picturing Disability: Beggar, Freak,
Citizen and Other Photographic
Rhetoric.
Revelations: Experiments in
Photography.
Images of Conviction: the Construction
of Visual Evidence.
Syracuse
University
Press
Mack
New York
Le Bal –
Editions Xavier
Barral
Paris
London
Friedrich, E.
1987
War against War.
Girardin, D.
2012
Graham, P.
2003
Controversies: a Legal and Ethical
History of Photography.
Paul Graham: American Night.
Litwack, L. et al.
2007
Steacy, W. ed.
2012
Without Sanctuary: Lynching
Photography in America.
Photographs not Taken: a Collection of
Photographers’ Essays.
The Real
Comet Press
Actes Sud
Seattle
Steidl
Gottingen
Twin Palms
Publishing.
Daylight
Community
Arts
Foundation
Santa Fe,
Arles
London
Selected reading will be signposted throughout the module
12. Other indicative text (e.g. websites)
 Photography Changes Everything by M Heiferman 2012 ISBN-10: 1597111996
 http://en.wikipedia.org/wiki/Photography_and_the_law
 Sally Mann
What remains:
http://video.yandex.ru/users/alexey-mischiha/view/86/ (48.30-55.00)
 http://source.ie/sourcephoto/?p=1282
Anthropology and photography
 http://www.nationalmediamuseum.org.uk/Collection/Photography/
Photo Archives
 http://www.vam.ac.uk/content/articles/p/photographs-by-philip-lorca-dicorcia/
 http://www.moma.org/collection/browse_results.php?object_id=50276
Philip-Lorca diCorcia, born in Hartford, Connecticut in 1953, made the Hollywood series (also
known as The Hustlers) in an area of Santa Monica Boulevard, Hollywood, frequented by male
prostitutes and drug addicts.
 http://www.guernicamag.com/features/linfield_10_15_10/
9/11 exhibition professional and non professional, catharsis.
 http://www.guardian.co.uk/media/2004/mar/12/pressandpublishing.spain
http://media.guardian.co.uk/presspublishing/images/0,11312,1168288,00.htm
http://media.guardian.co.uk/presspublishing/images/0,11312,1168294,00.html
http://media.guardian.co.uk/presspublishing/images/0,11312,1168300,00.html
http://media.guardian.co.uk/presspublishing/images/0,11312,1168303,00.html
Madrid train bombing/ media manipulation
http://www.theguardian.com/world/2014/jul/23/graphic-content-photographs-too-upsetting-topublish-gaza-mh17-ukraine
Graphic content: when photographs of carnage are too upsetting to publish
The onslaught in Gaza and the MH17 crash scene in Ukraine have generated thousands of
pictures, many of which show the gruesome reality of the violence. How does the Guardian's head
of photography decide whether or not to use such images?
 http://www.dw.de/war-porn-book-shows-what-few-dare-to-see/a-17710212
'War Porn'Christop Bangert
 http://www.professionalphotographer.co.uk/Magazine/Photographer-Profiles/Legendary-
Photographer-Oliviero-Toscani
 Profile of Toscani