SAMPLE SYLLABUS FOR KEI SEMESTER PROGRAM
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1 COURSE TITLE HISTORY OF FASHION PHOTOGRAPHY SEMESTER OFFERED Fall 2017 SCHOOL / DEPARTMENT IED Florence School of Fashion SAMPLE SYLLABUS FOR KEI SEMESTER PROGRAM COURSE DESCRIPTION The course explores the endlessly fruitful and fascinating relationship between photography and fashion in Western culture. With an European and North- American focus, classes follow a chronological order, ranging from the 1840s, when photography first appeared, to our days. Starting with the first daguerreotypes, the course then considers the relationship between photographers, art directors, stylists and artistic avant- gardes in the 1930s and 1940s, to research developments in the following decades up to the marriage of art and fashion in the 1980s and 90s, when barriers between low and high culture melt and fashion houses began to work with fine artists. Great attention is paid to contemporary developments, i.e., the latest fashion campaigns both in magazines and online. Using power point presentations, visits, video clips and movies, the course offers an in- depth immersion in the visuals and ideas that have shaped the past and contribute so much to the present development of trends, looks and styles in every aspect of fashion, communication and culture at large. COURSE OBJECTIVES / LEARNING OUTCOMES The objective of this course is to give students the knowledge to understand and navigate the ocean of visual stimuli provided by fashion photography. By the end of the course each student will be familiar with the different schools, trends, and authors that have contributed to the history of fashion photography. The specific objectives are to: Introduce students to the historical developments of photography and fashion photography. Identify and explain major artistic movements, historic creative figures and the relationship between cultural, economic and commercial forces involved in the production of fashion photography. Familiarize students with the works of individual photographers, and render them able to recognize styles, looks, and different cultural milieus. Explore the role of art directors and their working relationships with photographers, publishers, models and the fashion industry. COURSE HOURS AND CREDITS 3 US Credits
2 TEXTS AND READINGS The instructor will provide students with either printed copies or URL links of all readings that are part of this course. Used texts and readings include: Nancy Hall- Duncan, The history of Fashion Photography, Alpine Book, 1 st edition 1979 Glenda Bailey, Harper s Bazaar Greatest Hits, 2011 Charlotte Seeling, Fashion 150 Years Of Courtiers, Designers, Labels, Ullmann, 2012 Susan Kismarik, Fashioning Fiction in Photography since 1990, The Museum of Modern Art, New York; 1st edition Maria Luisa Frisa, Italian Fashion Now, Marsilio, 2011, ISBN VIDEOGRAPHY As a part of this course selected segments of the following documentaries and films might be shown. Students are encouraged to view ALL of these works in their entirety outside of class time. Depending on class time constraints we may need to schedule a special viewing time for all outside of class. 1) The Eye has to Travel, di V. Immondino 2) Blow Up, di Michelangelo Antonioni 3) Pret a Porter, di Robert Altman 4) The September Issue 5) Helmut Newton: Frames from the Edge Library and Study Spaces The main public library of Florence the Biblioteca Oblate is located on the same street as IED Florence and is open Monday from 2:00PM to 10:00PM and Tuesday to Saturday from 09:00AM to midnight. There is wifi throughout the school as well as computer labs with all necessary programs and printing facilities. FIELDTRIPS AND VISITS Fieldtrips and visits are a very important component of this program and are an integral part of the program. They are designed to complement what is learned in the classroom as well as serve as an ongoing orientation to the field of design, fashion industry and city. Fieldtrips and visits are tentatively scheduled and may change based upon availability of the instructor, guest speakers and venue scheduling. NOTE: One museum visit is scheduled during the semester. Other visits to commercial galleries are possible according to schedule. ALL VISITS ARE MANDATORY!! GRADING AND STUDENT EVALUATION The Italian Grading System ranges from 18/30 to 30/30. The highest mark is 30/30 with distinction (Lode). Exams grades under 18/30 are considered as failed. The following chart compares Italian and US grading system and provides a translation of the numerical/letter value of Italian grades.
3 Local Translation In the Italian educational system, student grades are numeric and assigned for written and oral exams, presentations and final works. It is uncommon to receive the highest grades as they are generally reserved for exceptional work and projects. Italian Number US Letter Italian Number US Letter 30 A++ 23 C+ 29 A+ 22 C 28 A 23 C- 27 A- 20 D+ 26 B+ 19 D 25 B 18 D 24 B- 17 F IED Credits Crediti Formativi: Crediti Formativi (CF) measure the student workload for the completion of a course, including workshop activities and individual study required of the student to gain knowledge and ability in the educational activities provided for by the study and examination regulations for the course in addition to the time in the classroom. Each credit (CF) corresponds to twenty- five hours of work, including theory lessons, workshops, projects and individual study. A IED class hour is equal to 60 minutes of instruction. Conversion of IED Credits to US system: IED bases equivalency calculations on the standard credit transfer formula used by the majority of US universities based on one credit being equal to 15 contact hours (academic hours) and that an academic hour is defined as 50 minutes in length. In approximating the equivalent possible credit using the US credit system, IED employs the following calculation. Final credit award and transfer is made only by the student s home university. ATTENDANCE POLICY Students who are absent for more than 20% of total class meetings, including fieldtrips and course- related activities will not receive a passing grade. Exceptions for medical and personal emergencies are handled on a case by case basis in collaboration with the program coordinator. LESSON AND LECTURES Theory: The teaching method consists of series of classroom lectures devoted to explaining the subjects in question in detail, using audiovisual supports and moments when the lecturers interact with the students, who are stimulated to speak up and contribute to the process of transmitting and imparting the course contents. Students may be requested to undertake a research project or other development on one or more course contents, to be presented and discussed during their examinations. This course runs for throughout the semester and the exact number of class meetings will be determined upon the confirmation of class site visits and fieldtrips. The weekly course overview is indicative of the topics covered, assigned work and class fieldtrips. Meetings with industry professionals and workspaces are generally confirmed shortly before the visit according to speaker availability.
4 SEMESTER CALENDAR Fall 2016 dates TBA SAMPLE SYLLABUS FOR KEI SEMESTER PROGRAM ASSIGNMENTS, PROJECTS AND EXAMS Three tests are scheduled during the semester in lieu of a midterm exam. Each test is based on image recognition. Tests will be corrected and assessed in class the same day so that each student might be constantly aware of his/her progresses. Each test accounts for 20% of the final grade. Final Examination: Students will give an individual presentation based on independent research carried out during laboratory hours in class and independently at home. Students will choose the topic for their presentation in agreement with the instructor. Final Exam accounts for 40% of the final grade. Students will complete a SPECIAL PROJECT with the professor. This will be developed during the term and they will have additional tutorials in order to develop and finalize their project this can either be an individual or group project depending upon the students and project models and topics involved. LESSON PLAN AND LECTURE TOPICS The weekly course overview is indicative of the topics covered, assigned work and class fieldtrips. Meetings with industry professionals and workspaces are generally confirmed shortly before the visit according to speaker availability. WEEK 1 Introduction to the course. Lecture: In the Beginning. From the birth of photography to the 1920s. Fashion in magazines and the Art Directors. Screening 1 WEEK 2 Lecture: The Masters of Chic Photographers and the invention of modern elegance. Artistic collaborations such as between artists and photographers for both clothing and accessories. Screening 2 WEEK 3 Lecture: All Change. The New Look. The Post- war Period Christian Dior s New Look, origin of modern Italian fashion moda italiana and important American photographers. Fashion becomes big business. Neorealism Italian craftsmanship and accessories. Test 1. Correction in class. Screening 3
5 WEEK 4 Lecture: Modernity Blown Up Youth Quake! 1960 s fashion photographers Street fashion Carnaby Street and Peacocks The phenomenon of 1960 s Lifestyle as represented by Swinging London, Roman Dolce Vita and The Beatles, the Quant mini- skirt and Warhol s Dream Factory. Screening 4 WEEK 5 Lecture: Sex and the City Fashion photography is not a place for prudes. Sex, politics, cultural revolution and the role of fashion. Screening 5 WEEK 6 Test 2 Correction in class Visit to the Alinari Museum and Guy Bourdin exhibit WEEK 7 Lecture: The Body Beautiful Body Beautiful Let s get Physical The rise of fitness and the quest for the perfect body and the 1980 s in Europe and North America. Minority movements of the70 s and 80 s and fashion from the Women s liberation movement, to Black Power, to LGBT and other groups. Screening 6 WEEK 8 Lecture: New Imaging Screening 7 WEEK 9 Lecture: The Contemporary Scene Contemporary Fashion Photography (Part 1) Creative collaborations between fashion and art such as Mark Jacobs work with Stephen Sprouse, Takashi Murakami and Richard Prince. The role of post- production. Laboratory WEEK 10 The Contemporary Scene Contemporary Fashion Photography (Part 2) The Rise of the Rest! New markets from Eastern Europe to Asia. Expansion of truly global fashion magazines and communication strategies. Fundamental role of photography and fashion. Screening 8 Laboratory
6 WEEK 11 Laboratory in preparation for Final Exam WEEK 12 Final Exam
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