nl en

Curating, editing and producing Photography & multimedia Projects


Admission requirements

Only for students of the Master in Film and Photographic Studies. A maximum number of 12-15 students can be admitted to this elective. A selection procedure, in which a critical visual understanding of photography is tested, may apply.


ECTP is focusing on the contemporary practice of editors, curators and imagemakers involved in creating documentary projects for multiple platforms.

The course starts with a full workshop week (a) during which material around a social theme will be generated individually and subsequently be put into a narrative structure (book, installation, web) in groups of 2-3 students.

During ‘Meet the photographers’ (b) students will be confronted with the work of contemporary image makers with a documentary background. What does their practice look like: how do they work, what are their objectives, what type of output do they generate and for whom, what are their expectations of the platforms their work can be presented on: press, independent book productions, exhibitions, audiovisuals, the web?

‘Meet the curators’ (c) starts with a visit to a festival or museum. Main points of interest: the choices made by this particular institution regarding the functions of the museum (conservation, presentation, education, research). The programme will particularly focus on the museum’s policy as far as exhibitions are concerned. Students are confronted with the curator’s responsibility of getting involved with the work of image makers. In what ways can a curator interfere with the work of an artist, what are the boundaries of this engagement?

‘Meet the designers’ (d) provides insight into the role of designers with regard to curatorial practice. When to consult/involve a designer in a project, how to brief a graphic/exhibition/interactive media expert? What to expect, how to collaborate, who is responsible for what? (editing, narrative structure, information provided, contextualization, etc)

‘Meet the funders’ (e) represents the final stage of the programme: developing a project that will have to be able to function independently as well as (partly) integrated on multiple platforms (book next to exhibition next to web, etc). The proposal, requires writing an brochure describing concept, audience, budget with coverage as well as sketching/developing visual models for its components. This part starts with (further) discussing the role of the curator and/or curator, aspects of fundraising for the non-profit sector, budgeting, collaboration models, etc.

The course is split in Phase I (a-d) and Phase 2 (e)

Course objectives

Acquiring insight into:

  • The current practice of museum curators, exhibition makers, and/or producers (concept development, financial support, fundraising, collaboration with creative and institutional partners);

  • The functioning of the interconnected presentation platforms relevant for this practice: exhibitions, internet, print (books, catalogues), film, mobile media (tablet, smartphone), augmented reality and educational programmes. Students will be able to develop content for, budget and approach funders for a coherent presentation making use of multiple platforms.


The timetables are available through My Timetable.

Mode of instruction

  • CPEPPMP is taught in a mixture of a workshop, seminars and practicum.

Assessment method


  • Phase I: The evaluation is based on 3-4 single platform papers/presentations representing 5 ECTS together (50%).

  • Phase II: Final project, weighing in at another 5 ECTS, is a multiplatform project proposal based on the funding requirements of the Mondriaan Fund. The proposal, requires writing a brochure describing concept, audience, budget with coverage as well as sketching/developing visual models for its components.

  • All presentations have to be presented orally, based on written form (PDF, PPT), completed by a and/or physical or electronic object (book, website) or (representation of an) installation.

  • Collective assignments can be graded with pass/fail (with grades as reference), individual assignments will always be graded.


  • 3 - 4 smaller assignments (50%)

  • Final Project (50%)


not applicable

Inspection and feedback

How and when an exam review will take place will be disclosed together with the publication of the exam results at the latest. If a student requests a review within 30 days after publication of the exam results, an exam review will have to be organized.

Reading list

Ruby, Jay, Sharing the Power – A Multivocal Documentary, in: Vroege, Bas (ed.), Perspektief No. 41. Rotterdam: Stichting Perspektief, 1991.

Staniszewski, Mary Anne, The power of display. A history of exhibition installations at the Museum of Modern Art, Cambridge: MIT Press, 1998. (Chapters 1, 2 & 4).

Rastenberger, Anna-Kaisa, Why Exhibit?: Affective Spectatorship and the Gaze from Somewhere, in: Rastenberger, Anna -Kaisa & Sikking, Iris (ed.), Why Exhibit? Positions on Exhibiting Photographies. Amsterdam: Fw:Books, 2018

Sealy, Mark, Decolonizing the Camera: Photography in Racial Time. Doctoral thesis, Durham University, 2016.

Recommended reading:
Parr, Martin & Badger, Gerry, The Photo Book. A History (Volume 1). London: Phaidon Press, 2004.
Phillips, Christopher, The Judgement Seat of Photography, in: October 22, Autumn 1982, pp. 27-63
Vroege, Bas, The future of photography – the future looks bright / the future looks cumbersome, in: Valtorta, Roberta (ed.), È contemporanea la fotografia? Milan: Museo di Fotografia Contemporanea, 2004.

Recommended (online) media:
Meyer, Pedro, I Photograph to Remember. Santa Monica: Voyager, 1991. (CD-ROM)
Legrady, George, An Anecdoted Archive of the Cold War. San Francisco: HyperReal Media Productions, 1994. (CD-ROM)
Cameron, Andy [et al.], AntiRom. Westminster: University of Westminster 1994. (CD-ROM)
Meiselas, Susan, aka Kurdistan. New York: Picture Projects, 1997. (website)
Van Denderen, Ad & Gerrets, Boris, Go No Go. Edam: Paradox, 2003. (DVD, book, website)
Lixenberg, Dana & Louter, Jan, The Last Days of Shishmaref. Edam: Paradox, 2008. (webdoc, book, film)
Dufresne, David, Prison Valley. Paris: Upian, 2010. (webdoc)
Van Lohuizen, Kadir, Via PanAm. Edam: Paradox, 2011 (iPad app, now also online).
Firestorm. London: The Guardian, 2013. (webdoc)
Canepari, Zackary, Flint is a Place. Screen, 2018. (webdoc)
Lopez, Anaïs, The Migrant. Amsterdam: Prospektor, 2018 (webdoc/mobile app)


Enrolment through My Studymap is mandatory.

Contact details

  • For substantive questions, contact the lecturer listed in the right information bar.

  • For questions about enrolment, admission, etc, contact the Education Administration Office: Arsenaal