FH4S19 - Realised Document 01 Sep 2021 - 31 Aug 2027 | Version 1

Associated Module Information

Module Code: FH4S19
Module Title: Realised Document
Faculty: Faculty of Business and Creative Industries
Faculty Group: Fashion, Marketing and Photography
Faculty Sub Group: Photography
Module Leader: David Barnes, Eileen Little
Module Team: Mark Durden, Paul Reas, Lisa Barnard, Steven Wright
First Intended Intake: SEP 2021 Final Year of Intake: 2026
Date Closed:
Credit Value: 20 Credit Level: 7
Language: English
Percentage of Module Taught in Welsh: 0
Equivalent Module:
HECOS codes:
HECOS Code Weighting:

Document Version Information

Version 1
Valid From 01 Sep 2021
Valid To 31 Aug 2027

Module Aims

1. Provide students with the practical and theoretical tools with which to engage critically with contemporary photographic practice at an advanced and professional level

2. Offer the opportunity and framework for students to produce an original and innovative portfolio of work for dissemination on multiple platforms including, exhibition and/or publication and/or WebDocs, to the highest of production standards

3. Encourage the development of informed and literate professional practitioners, who are adaptable to change and able to bring to bear their originality, insight and reflective abilities in the workplace.

Content Summary

The module will concentrate on the realisation of an individual project/s for assessment and explore the potential outcome of practical work in relation to audience, site and distributional form.

During the module students will focus on:

1. The production of a professional portfolio to facilitate industry reviews.

2. The development of the students' major project into exhibition, and publication and/or WebDocs. Moving image, digital presentations or sculptural aspects of projects will also be encouraged.

4. Critical consideration of the photographic document that utilise philosophical, formal, contextual and ideological choices made within the work.

Learning and Teaching Methods

Activity Type Hours
Lecture 6
Seminar 4
Tutorial 2
Independent Study 164
Directed Study 20
Formative Assessment - Scheduled 4
Total Hours Selected 200

Learning Outcomes

# Learning Outcome
LO1 Demonstrate sophistication and appropriateness of the technical production and postproduction of the final outcome.
LO2 Reflect an independent and original approach that evidence depth of theoretical sophistication in the final output.

Module Requisites

N/A

Assessment Criteria

Assessment Category Assessment Type Description Duration Word Count Weight (%) Best of? Pass Mark
Asynchronous Assessment Project Output 1 Students are required to present a suitable project output of their major project. This can be in any distributional form that addresses audience and site. Additional contextualising material must be utilized alongside texts, artefacts or any other output the student feels is appropriate for the understanding of the work. 0 N/A 50 No 40
Asynchronous Assessment Portfolio 1 A professional portfolio that consolidates the completed major project. 0 N/A 50 No 40

Assessment Matrix

Assessment Type Learning Outcomes
LO1 LO2
Project Output 1
Portfolio 1

Reading List

Anderson, B (2016). Imagined Communities. London: Verso
Batchen, G. 2014. Picturing atrocity. London: Reaktion Books.
Balsom, E. and Peleg, H. (2016) Documentary Across Disciplines. Berlin and Cambridge MA
Caroll, H. (2018) Photographers on Photography. Laurence King Publishing
Cottrell, S. (2015) Skills for success : personal development and employability. 3rd edn. Basingstoke: Palgrave Macmillan
Demos, T.J. 2013, The Migrant Image: The Art and Politics of Documentary during Global Crisis
Freeman, M (2018) The Routledge companion to transmedia studies. New York
Good J and Lowe, P (2018). Understanding Photojournalism. Bloomsbury
Groppel-Wegner, A and Kidd, J. Critcal encounters with immersive storytelling. Routledge
Larsen and Sandbye (ed). 2014. Digital Snaps: The New Face of Photography .
O’Doherty, B. 2000. Inside the White Cube. Uni of California Press
Olin, M. 2012, Touching Photographs, University of Chicago Press, U.S.A
Pirie. D. How to write critical essays
Stephen Willats. 2010. The Artist as an Instigator of Changes in Social Cognition and Behaviour
Reilly, C 2018. Curatorial Activism: Towards an Ethics of Curating, London: Thames & Hudson,
Ruby, J. 2000. Picturing culture. Chicago: Univ. of Chicago Press
Strauss, D.L., (2000) Between the Eyes: Essays on Art and Politics. New York
Willumeit, Lars. 2016. The (Un)Becomings of Photography. Foundation for Visual Arts, Krakow
Thomas, G. How to do your Case Study. Sage
Kozloff, M., The Theatre of the Face, (London, 2007)Larsen, J. and Sandbye, M., Digital Snaps: The New Face of Photography, (London 2014)
Rabinowitz, P., They Must Be Represented, London, (1994)
Roberts, J., The Art of Interruption: Realism, Photography and the Everyday, (Manchester 1998)
Roberts, R., ‘A Matter of Fact: The Rhetoric of Documentary Style’ in Fabula, (London, 2003)
Rosler, M., Decoys and Disruptions: Selected Writings, 1975-2001, (Cambridge MA, London, 2004)
Williams, G (2014) How to Write about Contemporary Art. Thames and Hudson