Context and Narrative

Janet's OCA blog

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  • COURSEWORK
    • Part one: The photograph as document
      • Project 1: Eyewitnesses
        • Exercise – Citizen journalism
      • Project 2: Photojournalism
        • Research point – Susan Sontag: “Compassion fatique”
        • Research point – David Campany: “Safety in Numbness”
      • Project 3: Reportage
        • Research point – How is irony used to comment on British-ness or American values?
        • Exercise – Colour and the street
      • Project 4: The gallery wall – documentary as art
        • Research point – Paul Seawright: “Sectarian Murder”
      • Project 5: The manipulated image
        • Exercise – The Real and the Digital
    • Part two: Narrative
      • Project 1: Telling a story
        • Exercise – Bryony Campbell: “The Dad Project”
      • Project 2: Image and text
        • Exercise – Captions
        • Research point – Examples of relay: Sophie Calle & Sophy Rickett
        • Research point – Duane Michals: “This Photograph is My Proof”.
        • Exercise – Interpreting a poem through photographs
      • Project 3: Photographing the unseen
        • Exercise – Three case studies
    • Part three: Putting yourself in the picture
      • Project 1: Autobiographical self-portraiture
        • Exercise: Gearon Brotherus Wearing
      • Project 2: Masquerades
        • Exercise – Nikki S. Lee and Tracey Moffat
        • Exercise 2 – Recreating a childhood memory
      • Project 3: Self-absented portraiture
        • Exercise – Nigel Shafran
      • Project 1: The language of photography
        • Exercise: Elliott Erwitt
    • Part four: Reading photographs
      • Project 2: Reading pictures
        • Exercise: Deconstruction of an advertising image.
        • Research point: Diane Arbus and Jeff Wall
    • Part five: Constructed realities and the fabricated image
      • Project 1: Setting the scene
        • Exercise: Goodfellas
        • Research point: Gregory Crewdson
      • Project 2: The archive
        • Exercise: Question for Seller
        • Exercise: Recorded conversation
  • ASSIGNMENTS
    • Assignment 1- Two sides of the story
      • A1 Planning and preparation
      • A1 Submission to tutor
      • A1 Tutor feedback and response
    • Assignment 2 – Photographing the unseen
      • A2 Planning and preparation
      • A2 Submission to tutor
      • A2 Tutor feedback and response
      • A2 Formal assessment submission
    • Assignment 3 – Self-portrait
      • A3 Planning and preparation
        • Initial thoughts and ideas
        • Light bulb moment!
        • Working on chosen subject matter
      • A3 Submission to tutor
      • A3 Tutor feedback and response
      • A3 Formal assessment submission
    • Assignment 4- Reading photographs
      • A4 Planning and preparation.
      • A4 Submission to tutor
      • A4 Tutor feedback and response
      • A4 Formal assessment submission
    • Assignment 5 – Making it up
      • A5 Planning and preparation
      • A5 Submission to tutor
      • A5 Tutor feedback and response
      • A5 Formal assessment submission
  • Research – Theoretical
    • Camera Lucida – Roland Barthes
    • “The Presentation of Self in Everyday Life” Erving Goffmann
    • Fire and Ice – Peter Wollen
  • Research – Visual
    • Uta Barth
    • Maria Kapajeva “Interiors”
    • John Maher
    • Duane Michals
    • Tracey Moffat
    • Joachim Schmid
    • Cindy Sherman ‘Doll Clothes’
    • Tim Walker
    • Jeff Wall
    • Rachel Whiteread
    • Dawn Woolley “The Substitute”
  • Exhibitions and study visits
    • Chasing Shadows
    • “Intermissions”: Edward Chambré-Hardman
    • John Maher – “Nobody’s Home”
    • OCA symposium – “Photography Matters”
    • The Factory 2016
    • Hard Focus: The Physicality of photography
  • Bibliography
  • Conclusion and Final Reflection
  • Note to Assessors

People and Place

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