Photography - 2nd semester


This discipline, having as a base a large photography chronology, aims to define an approach to photographic theories and practices throughout its history which have contributed to establish a concrete field of individual and collective representation.
a) Of formal/instrumental order, especially to the capacity of analysis and deconstruction of photography act and image;
b)Of technical order, specifically to the knowledge of the themes, concepts and bibliography defined in the discipline program.
Specific goals:
a) To offer an overview of the historical evolution of photography thinking and practices, emphasizing the authorial ones.
b) To put in perspective photography nature and status – as a technical device and as a pattern of representation – and its specific relation with reality.
c) To understand the specific relation between the photographic image and its different context of use (art, press, advertising, science, family, etc.)

General characterization





Responsible teacher

António Sérgio Mah Alves da Silva


Weekly - 4

Total - Available soon

Teaching language





DUVE, Thierry de, “Pose e instantâneo ou O paradoxo fotográfico”, in LisboaPhoto 2005- A Imagem cesura, Lisboa, CML/Público, 2005, pp 27-53
LUGON, Olivier, Le Style documentaire, Paris, Macula, 2004
BATCHEN, Geoffrey. Burning with Desire, Massachusetts, MIT Press, 1997
DUBOIS, Philippe. O acto fotográfico (or. L´acte photographique), Lisboa, Veja, 1992.
SONTAG, Susan. Ensaios sobre Fotografia (or. On Photography), Lisboa, D. Quixote, 1986., 1986.

Teaching method

Theoretical expositive lessons, using visual examples (slides and video documentation).

Evaluation method

Individual written test: 40h, 40%
Individual written essay: 60h, 60%.

Subject matter

1. Traces in the constitution of a Modern Vision
- Pre-photographic ideas and practices: from the camera obscura to the photography device
- Photography as the art of reproduction
- The scientific and institutional uses of photography
- Photography modern figures
- Photography and Art within the 19th Century
2. The artistic avant-gardes. Towards a New Vision
- The photogram culture and the experience of light
- The mobilization of look and the mobilized look
- The surrealists and the “social fantastic”
- The photographic montage
3. Autonomy and dissemination of the Photographic Aesthetic
- From the “Photo Secession” to the “Straight Photography”
- The “found image” and the several documental approaches: between the humanistic value and the formal search
- Photography, culture and ideology
- The “fall” of the real
- Informal circles: the snapshot as an aesthetical type and as social practice
4. Contemporary courses
- Pop and conceptual behaviours
- The “Post-modernisms”
- Actualizing the documental
- Appropriation, montage and allegory
- The hybrid regimes: the image-object and the object-image
- The image as “tableau”: as an abstracting space and as a performing territory
- The digital (r)evolution: synthesis and simulation


Programs where the course is taught: