Credit Points: 15
Study Time: 150

This unit opens up questions of the relationship between the still and moving image. Historical models such as the zoetrope offer an appropriate starting position. The unit addresses the construction of the various forms of narrative and how the difference between one moment and the next, defines time. The comparison of still to moving image is examined and how they each can be used to develop or undermine the narrative using theories and practices of cinematic, photographic and art video tropes and influences from mass media.

Outline Syllabus
An indicative guide to the content covered by this unit:

• Narrative and non-narrative in photography and the moving image
• The real and fictive in photography and the moving image
• Subjectivity and objectivity in photography and the moving image
• World-wide web and video-art
• The sequential - series - and typologies
• Juxtaposition of the „still‟ with the moving image

Method of Delivery
Lectures, seminars, workshops, project, research, independent learning, tutorials, viewings and critique.

Aims

A1 To provide you with a basic knowledge of theories and practices of narrative and their relevance to photography and moving image.
A2 To provide you with opportunities to develop a basic theoretical knowledge through the examination of aspects of theory and practice relevant to this unit.
A3 To consolidate your experience of the viewing and critique as a key learning, teaching and assessment strategy so that you can communicate accurately.
A4 To develop a basic knowledge of your technical and critical skills relevant to this unit.

Learning Outcomes
On completion of this unit you will be able to:

LO1 Demonstrate a basic knowledge of ideas as they relate to narrative, the „still‟ and moving image.
LO2 Demonstrate some knowledge of the development and application of relevant areas of theory in your practical work.
LO3 Demonstrate commitment to exploiting the potential that the viewing and critique offers in the development of your learning and effective communication.
LO4 Demonstrate a basic knowledge of, and development and application of your technical skills.

Reference Material

Key
Campany, David (2008) Photography and Cinema. London: Reaktion Books.
Doane, Mary Anne (2002) The Emergence of Cinematic Time: Modernity, Contingency, The Archive. Cambridge, Mass. and London: Harvard University Press.
Green, David and Joanna Lowry (eds) (2006) Stillness and Time: Photography and the Moving Image. Brighton: Photoforum and Photoworks.
Spielmann, Yvonne (2008) Video: The Reflexive Medium. Cambridge Mass. and London: The MIT Press Ltd.
Stewart, Garrett (2007) Framed Time: Toward a Postfilmic Cinema. Chicago and London: University of Chicago Press

Recommended
Barthes, Roland (1995) Image-Music-Text. London: Vintage
Gill, Carolyn Bailey (ed.) (2001) Time and the Image. Manchester: Manchester University Press.
Hamlyn, Nicky (2003) Film Art Phenomena London: British Film Institute.
Mitchell W.J.T (1990) On Narrative. Chicago: University of Chicago Press
Wallis, Brian (ed.) (1986) Art After Modernism - Rethinking Representation. New York: The New Museum of Contemporary Art, New York and David R. Godine Publisher