War Photography and Related Media
Thurs. , West Hall 214
War Photography and Related Media is a studio course with short seminars where multiple perspectives of war imagery and media are explored. The essential elements of conflict and how it is captured visually and aurally throughout history are examined. Through film screenings, images and personal accounts, students become aware of multiple perspectives of looking at the same conflict. Short studies exploring notions of conflict and response lead to a student directed final project which comments on a major theme of possible resolution.
Conflicts abide worldwide, from disagreements with
others to outright wars. Ancient
Why do we want to see images of War? Them and us?
What would a Department of Peace look/sound like?
Is War really part of the human condition?
Can simulation be a potent tool to help us recognize different points of view?
Can we use technology, which many times comes from military research, to help us understand instead of annihilate?
Susan Sontag, Regarding the Pain of Others
Sun Tzu, The Art of War, The oldest military treatise in the world. http://www.chinapage.com/sunzi-e.html
Guy Debord, The Society of the Spectacle http://www.marxists.org/reference/archive/debord/society.htm
Short Studies: notions of conflict and response
Due Sept 15
* Create a photomontage about war (using found images) which particularly affected you or your family.
Due Sept 22
* Create a photomontage about peace (using found images) which relates to your family in the event war did not occur.
Due Sept 29
* Create a War game plan map (pencil on vellum drawing)
Due Oct 6
* Create a Resolution game plan map (pencil on vellum drawing)
Due Oct 20
* Create a photo essay about conflict in your environment (using your original imagery)
Due Oct 27
* Create a photo essay about resolution in your environment (using your original imagery)
Due Nov 10
* Create a simulation and show multiple points of view
An artwork or essay which comments on a major theme of possible resolution to world conflict
Due Dec 1 Project Pre Reviews
Due Dec 8 All Final Projects
Regret to Inform
Photomontage Today: Peter Kennard
Zygosis, a film by Gavin Hodge & Tim Morrison about John Heartfield, the anti-Nazi German satirist who pioneered the photomontage
War Photographer, about photojournalist Jame Nachtwey by Christ
Ran, a film by Akira Kurosawa
The famous Japanese filmmaker uses Shakeapear’s King Lear to tell the story of an old man’s quest for meaning within and incomprehensible, unframed war. To enable the audience to see the clash of armies, Kurosawa silences their clashing armor and the screams of the wounded before he immerses the carnage in music. He imposes a spectacular order on chaos.
21 Days to
War Spin: the Media
Basic Camera Techinques, BCTE
Images in Media A behind-the-scenes look at the media's image-makers, from the first photographers to today's Madison Avenue wizards; asks some disturbing questions about the self-selected few who hold a distorted mirror up to our society.
American Photography: A Century of Images The story of the pictures we have taken and where they have taken us. The series traces the profound effect photographs have had on American life-- influencing what we buy, how we dress, how we get the news, and in the matters of life and death, medicine, science, and war.
Die (Circle of Deceit) Volker Schlöndorff
(English) olker Schlondorff's
CIRCLE OF DECEIT eloquently captures the chaos of war through the eyes of
German journalist Georg (Bruno Ganz).
As his marriage quickly degrades, Georg decides to
escape to war-torn
Live from Baghdad,
This HBO Films production mixes breakneck excitement, biting humor and
blistering drama in telling the behind-the-scenes true story of how brash CNN
producer Robert Wiener (Michael Keaton) and his
resourceful team made history, and reported it, during the onset of the 1991
Gulf War. Arriving in
Control Room (2004) (2004) a documentary about the Middle East news agency Al-Jazeera, takes a perspective that most Americans won’t share, but refusing to look at perspectives different from one’s own is a denial of larger realities.
A Force More Powerful:
series on on-violent political resistance in
Hotel Rowanda The deeply moving true story of a five-star-hotel manager who used his wits and words to save more than 1,200 lives during the 1994 Rwandan conflict.
Intro to class and studio/seminar topics
Ideas about multiple viewpoints
Film: Regret to
Inform, showing two sides to the “
Lecture/ Discussion setting the ideas to see multiple sides of conflict
History of Photomontage
John Heartfield, the anti-Nazi German satirist who pioneered the photomontage http://www.towson.edu/heartfield/art/5.html
Hannah Hoch: Born 1898,
Skills: image scanning, traditional photomontage & digital photomontage techniques, cutting, pasting, feathering edges, layers,
Film: Photomontage Today: Peter Kennard
Discuss Susan Sontag, Regarding the Pain of Others
Critiques of photomontage about war (using found images) which particularly affected you or your family.
Critiques of photomontage about peace (using found images) which relates to your family in the event war did not occur.
Film: War Photographer
Discuss Sun Tzu, The Art of War (see below)
See film Ran
Discuss war scenarios and game plans
Create War game plan maps (pencil on vellum drawing)
Chinese general, circa
A collection of essays on the art of war is attributed to Sun Tzu. These are
the earliest known treatises on the subject. There is
a growing number of translations of this Chinese classic, usually titled Sun
Tzu: The Art of War. Sometimes the wording is reversed. Knowledge of Sun
The most fundamental of Sun Tzu's principles for the conduct of war is that "All warfare is based on deception".
Another key Sun Tzu principle is that "The supreme art of war is to subdue the enemy without fighting."
The oldest and unquestionably
most famous work in
Although the extant text is fragmented, enigmatic, and marked by disjunctures and outright contradictions because of the limitations imposed by the written medium -- short bamboo stri
Even though the core of the book is a translation of the traditionally received text of the Art of War -- the book that influenced imperial military thinkers and commanders for two thousand years -- passages from recently recovered tomb texts are integrated or otherwise provided, and fragments otherwise preserved over the centuries included. The introduction explores the historical context of the Spring and Autumn period; examines Sun-tzu’s life; discusses the politics and measures in the state of Wu where he purportedly served as a military advisor; and describes the pivotal campaigns that unfolded during his era and immediately thereafter, including Yueh’s resurgence to exterminate Wu itself. Spring and Autumn weapons and military practices are briefly characterized and extensive notes on both textual and historical matters provided. A Chinese glossary and categorical bibliography conclude the book.
Text of The Art of War:
Critique War game plan maps and War
game plan maps (pencil on vellum drawings)
Using camera, tripod, lighting kit, the Epson 10,000 archival printer
War Spin: the Media
Photographers of the Civil War:
War Photographers: Some of the Greats:
From Robert Capa's 1936
photograph "Falling Soldier" to Joe Rosenthal's Pulitzer
Prize-winning image of Marines raising the flag on
Bio and most famous photographs http://www.pbs.org/weta/reportingamericaatwar/reporters/capa/
Falling soldier controversy http://www.pbs.org/wnet/americanmasters/database/capa_r.html
American Photojournalist http://www.americanphotojournalist.com/story.php?storyid=66
Read: Guy Debord, The Society of the Spectacle http://www.marxists.org/reference/archive/debord/society.htm
Film: Fälschung, Die (Circle of Deceit) Volker Schlöndorff
Symbol, Allegory, Representation
Artists’ Responses to War and conflict
Assignment: start your research for your final project
Critique photo essays on conflict in your environment
photo essay about resolution in your environment
War Memorials : Who are we remembering? Why are they forgotten? What did they do? Can we learn from their experiences?
Film Live from
Assignment: start your research for your final project
Techniques: Maya, vrml,
Contemporary Culture and War: simulation, games and war
It's no videogame: news commentary and the second gulf war
November 2003 Level Up Conference Proceedings
Full text | INFO
This study analyzes
Keywords: War coverage,
Satellite Imaging, Bigger Brother and War Technology
Film: Control Room
Critiques of simulations with multiple points of view
Studio work and research for your final project
Film: Hotel Rowanda
Nov 24 Off for Thanksgiving
Final Project Pre Reviews Due
Final Projects Due
Requirements and Suggestions
How to take the course (in a nutshell):
Show up. Attendance is mandatory every week. Do the work and the assignments. Do the readings and come prepared to ask questions. Turn work in on time. Contribute to the discussions. Check the course website for the latest information about assignments and activities.
demonstrate satisfactory achievement of course projects and by contributing to
class discussions and critiques.
• 15% Short studies (7. 5% each x 2)
• 75% Final Project with Final Game Design Document
• 10% Participation in class
Letter grade equivalents for the course are as follows:
90 - 100 A
80 - 89.99 B
70 - 79.99 C
60 - 69.99 D
0 - 59.99 F
Class Attendance Policy
As an enrolled student, you have made a commitment to this class and your attendance is a significant part of that commitment. Attendance will be taken at every class. An absence is considered excused if the student has informed the course instructor by phone, email or in person before the beginning of the class and the excuse is considered reasonable by the instructor. All students are required to be on time and in attendance for each and every class. Students arriving to class more than 10 minutes late may be counted as absent. Two (2) unexcused absences will result in a reduction of one entire letter grade. Four or more absences will result in a zero for class participation.
Adherence to deadlines is expected. It is the individual student's responsibility to keep track of deadlines and to present the work to the class and instructor on the specified dates. 15% per day will be subtracted from late assignments.
If you are concerned about your creative trajectory or your grade at any point during the semester, please do not hesitate to contact your Instructor and schedule an appointment during office hours.
Statement On Academic Integrity
Collaboration and discussion about class projects is actively encouraged, and is in no way considered cheating. This is a studio course, and personal ownership of information is not deemed to be appropriate. Original images/ designs are required except where indicated otherwise. Projects are expected to reflect personal endeavor, but may also be collaborative in nature when the nature of the collaboration is clearly indicated.
are built on mutual respect and trust. Students must be able to trust that
their teachers have made responsible decisions about the structure and content
of the course and that they are conscientiou
• An active RCS account.
• Approximately 5 CDs
• Other materials on a project basis
• You may be making a number of digital prints/manifestations of your work on and off campus. The costs of digital printing vary, but be prepared to incur at least $25 in fabrication/material costs.
Email: All students are expected to have an active electronic mail account, and should check mail at least four times a week for class information. Some essential class information is communicated by email only.
Always back-up your work frequently; that is, every time you make something you think is worth keeping. Systems crash when least expected and you could lose all your work. It is a good idea to make three backups (on different media), as storage media are sometimes unstable. Always save onto your own media or into your account as files left on hard drives will be removed.
Also, please keep in mind the highly addictive aspects of working with computers. Many people lose track of time and later wonder why they have severe back, neck and eye problems. It is a good idea to take a rest every 15 to 20 minutes. Look up or beyond your computer or, better still, at a long distance to relax your eyes. Take a walk or stretch. Fatigue can lead to frustration. Stay in touch with your body's needs.
Try not to harm or deface any equipment in any way or lose files and folders belonging to our class or other classes.
Please report studio lab problems to Arts Engine staff.
Please follow the guidelines for working in each studio very carefully, as you will be held personally responsible for problems you incur. At all times please keep the lab clean after each use.