Course Name Code Semester T+U Hours Credit ECTS
Photography and Boundaries Of Presentation GIT 518 0 3 + 0 3 6
Precondition Courses
Recommended Optional Courses
Course Language Turkish
Course Level yuksek_lisans
Course Type Optional
Course Coordinator Dr.Öğr.Üyesi SUZAN ORHAN
Course Lecturers
Course Assistants
Course Category Available Basic Education in the Field
Course Objective

Arguing of photographic representation and understanding cultural aspects.

Course Content

Concept of representation; quality of photographic representation; aesthetics of photography and cultur of photography.

# Course Learning Outcomes Teaching Methods Assessment Methods
1 Knowing concept of mimesis and representation. Lecture, Question-Answer, Discussion, Oral Exam,
2 Defining quality of photographic representation. Lecture, Question-Answer, Discussion, Oral Exam,
3 Determining boundaries of photographic representation. Lecture, Oral Exam,
4 Using ethno-photo, war photography and documentary photography as a visual evidence. Lecture, Demonstration, Homework,
5 Evaluating contemporary arts with photography. Lecture, Question-Answer, Homework,
6 Defining role of photography on crisis of representation disputes. Lecture, Question-Answer, Brain Storming, Homework,
Week Course Topics Preliminary Preparation
1 Mimesis, representation, and the nature of photographic representation Roger Scruton, Photography and Representation, Critical Inquiry, 7:3, 1981: Spring, p: 577-603
2 A short overwiev of the photography theory Susie Linfield, Acımasız Aydınlık (Fotoğraf ve Politik Şiddet), Çeviri: M. Emir Uslu, Espas Kuram Sanat Yayınları, İstanbul 2013
3 Terry Barrett’s Photograpy categories Terry Barrett, Fotoğrafı Eleştirmek (İmgeleri Anlamaya Giriş), Çeviri: Yeşim Harcanoğlu, Hayalperest Yayınevi, İstanbul 2012
4 Photography as a representational art form Robert Wicks, Photography As A Representational Art, British Journal Of Aesthetics, 29:1 – 1989: Winter
5 Ethno-Photography and visual evidence Stuart Hall (edt.), Representation: Cultural Representation And Signifying Practices, Sage Publication, London 2003
6 Examination Essays
7 The new wars and new war photography Susan Sontag, Başkalarının Acısına Bakmak, Çeviri: Osman Akınhay, Agora Kitaplığı, İstanbul 2004
8 The boundaries of documentary photography Quentin Bajaq, Fotoğraftan Sonra (Analog Fotoğraftan Dijital Devrime), Çeviri: Marşa Franco, Yapı Kredi Yayınları Genel Kültür Dizisi, İstanbul 2011
9 What is postmodern photography? Quentin Bajaq, Fotoğraftan Sonra (Analog Fotoğraftan Dijital Devrime), Çeviri: Marşa Franco, Yapı Kredi Yayınları Genel Kültür Dizisi, İstanbul 2011
10 Is possible portrait photography? Roland Barthes, Camera Lucida, Çeviri: Reha Akçakaya,Altıkırkbeş Yayın, 3.Baskı, İstanbul 2000
11 Market and the relationship of the art instituation photography Actual essays, http://www.e-skop.com/skopyazar/ali-artun/5500
12 Çağdaş sanat ve fotoğraf Arthur C. Danto, Sanatın Sonundan Sonra (Çağdaş Sanat ve Tarihin Sınır Çizgisi), Çeviri: Zeynep Demirsü, Ayrıntı Yayınları, İstanbul 2010
13 After photography or arguing of representation crises and photography Quentin Bajaq, Fotoğraftan Sonra (Analog Fotoğraftan Dijital Devrime), Çeviri: Marşa Franco, Yapı Kredi Yayınları Genel Kültür Dizisi, İstanbul 2011
14 General evaluation Essays
Resources
Course Notes
Course Resources

1)Terry Barrett, Fotoğrafı Eleştirmek (İmgeleri Anlamaya Giriş), Çeviri: Yeşim Harcanoğlu, Hayalperest Yayınevi, İstanbul 2012
2)Susie Linfield, Acımasız Aydınlık (Fotoğraf ve Politik Şiddet), Çeviri: M. Emir Uslu, Espas Kuram Sanat Yayınları, İstanbul 2013
3)Quentin Bajaq, Fotoğraftan Sonra (Analog Fotoğraftan Dijital Devrime), Çeviri: Marşa Franco, Yapı Kredi Yayınları Genel Kültür Dizisi, İstanbul 2011
4)Roland Barthes, Camera Lucida, Çeviri: Reha Akçakaya,Altıkırkbeş Yayın, 3.Baskı, İstanbul 2000
5)Susan Sontag, Fotoğraf Üzerine, Çeviri: Reha Akçakaya, Altıkırkbeş Yayın, İstanbul 1993
…………………….. Başkalarının Acısına Bakmak, Çeviri: Osman Akınhay, Agora Kitaplığı, İstanbul 2004
6)Stuart Hall (edt.), Representation: Cultural Representation And Signifying Practices, Sage Publication, London 2003
7)Roger Scruton, Photography and Representation, Critical Inquiry, 7:3, 1981: Spring, p: 577-603
8)Arthur C. Danto, Sanatın Sonundan Sonra (Çağdaş Sanat ve Tarihin Sınır Çizgisi), Çeviri: Zeynep Demirsü, Ayrıntı Yayınları, İstanbul 2010
9)Robert Wicks, Photography As A Representational Art, British Journal Of Aesthetics, 29:1 – 1989: Winter
10) Kendall L. Walton, Mimesis As Make-Believe, On The Foundations Of The Representational Arts, Harvard University Press, 1990

Order Program Outcomes Level of Contribution
1 2 3 4 5
1 X
2 X
3 X
4 X
5 X
6 X
7 X
8 X
Evaluation System
Semester Studies Contribution Rate
1. Proje / Tasarım 50
1. Ödev 50
Total 100
1. Final 40
1. Yıl İçinin Başarıya 60
Total 100
ECTS - Workload Activity Quantity Time (Hours) Total Workload (Hours)
Course Duration (Including the exam week: 16x Total course hours) 16 3 48
Hours for off-the-classroom study (Pre-study, practice) 6 10 60
Final examination 1 2 2
Project / Design 1 16 16
Assignment 1 16 16
Total Workload 142
Total Workload / 25 (Hours) 5.68
dersAKTSKredisi 6