Only for studens 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 photographers 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 imagemakers. 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)
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, tablet media (iPad), augmented reality and educational programmes. Students will be able to develop content for, budget and approach funders for a coherent presentation that utilises multiple platforms.
Timetable on the website
Mode of instruction
- ECTP is taught in a mixture of a workshop, seminars and practicum.
Practical work: workshop 40 (ph I)
Tutoring: 40 (ph I) + 25 (ph 2)= 65
Study of compulsory literature: 10 (ph I)
Assignment(s): 40 (ph I)
Preparation exam: 100 (ph II)
Exam(s): 5 (ph II)
Other components: presentations: 5 (ph I) + 5 (ph II) / excursions: 5 (ph I) + 5 (ph II) = 20
The evaluation is based on 3-4 smaller assignments in Phase I (1 for workshop + 2-3 single platform papers/presentations) representing 5 ECTS together (50%).
Final project (Phase II), 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.
Blackboard will be used to provide students with an overview of current affairs, as well as specific information about (components of) the course.
Mary Anne Staniszewski, The power of display. A history of exhibition installations at the Museum of Modern Art, Cambridge: MIT Press, 1998. (Chapters 1, 2 & 4).
Literature will be made available online.
Ruby, Jay, Sharing the Power – A Multivocal Documentary, in: Vroege, Bas (ed.), Perspektief No. 41. Rotterdam: Stichting Perspektief, 1991.
Martin Parr & Gerry Badger, The Photo Book. A History (Volume 1). London: Phaidon Press, 2004.
Christopher Phillips, The Judgement Seat of Photography, 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.
George Legrady, An Anecdoted Archive of the Cold War. San Francisco: HyperReal Media Productions, 1994. (CD-ROM)
Pedro Meyer, I Photograph to Remember. Santa Monica: Voyager, 1991. (CD-ROM)
Ad van Denderen & Boris Gerrets, Go No Go. Edam: Paradox, 2003. (DVD, book, website)
Andy Cameron [et al.], AntiRom. Westminster: University of Westminster 1994. (CD-ROM)
Firestorm. London: The Guardian, 2013. See http://www.theguardian.com/world/interactive/2013/may/26/firestorm-bushfire-dunalley-holmes-family. (web documentary)
The Last Days of Shishmaref. Edam: Paradox, 2008. Design by Antenna-men, Rotterdam. See http://www.thelastdaysofshishmaref.com/shishbook/shishbook_release-1.1.11/MainView.html#. (web documentary)
Registration Studeren à la carte and Contractonderwijs
Please contact Student administration van Eyckhof
Coordinator of studies: Mr. J. Donkers, MA, P.N. van Eyckhof 4, room 1.02b.