Monday, 7 October 2013


The level 5 lecture programme is an introduction to the theoretical and philosophical approaches to visual culture. The programme will start to give opportunities to start to synthesise theories and practice. Also to develop reading and writing skills in building up to COP 3.


  • Label everything
  • 3000 word essay
  • Self directed practical piece
  • Choose your own essay question or theme of investigation.
  • Synthesis between theory and practice
  • Essay in February / 14th - 4pm
  • Related project in May / 7th
Module + Lecture Themes

  1. Introduction
  2. Consumerism - Persuasion, brand, society, future 
  3. Identity 
  4. The gaze & the media 
  5. Cities & film 
  6. Ethics - What is good? 
  7. Globalisation and sustainability
  8. Censorship and truth
  9. Subculture and style
  10. What it research?
  11. What is critical analysis?
  12. Synthesis (theory - action - reflection)
  13. Cop3 intro
  14. Research skills

BA Photography: Fish Story by Allan Sekula - a living exhibition.

BA Games Design: Grand theft auto V  - Shelby welinder - Objectification of w

BA Advertising: Saatchi & Saatchi for Gallagher (1983) - In the advertusunf code of prctice, in britain , tobacco products were no longer alowed to be associated with 
  • Glamour
  • Sport
  • Success in business
  • Masculinity of Femininity
  • Also ' Advertisement should not seek to actively persuade people to start smoking' 
  • N.B banned entirely 2003.

Advertising worked merely on connotations and visual metaphors, e.g silk cut. The image connotes themes of sexiness, affluence, ruffled bed sheets, silk, glamour.

L'Atelier Populaire: May 1968, Revolutionary moment in Europe,  Reading jean paul saach, Art school lock down. Design to perpetuate and build a revolution. Insight to what the creative mind can do. Then vs. 2011 student riots. 

On May 16th, art students, painters from outside the university and striking workers decided to permanently occupy the art school in order to produce posters that would, "Give concrete support to the great movement of the workers on strike who are occupying their factories in defiance of the Gaullist government." The posters of the ATELIER POPULAIRE were designed and printed anonymously and were distributed for free. They were seen on the barricades, carried in demonstrations and were plastered on walls all over France. Their bold and provocative messages were extremely influential and still resonate in our own time. 

The posters produced by the ATELIER POPULAIRE are weapons in the service of the struggle and are an inseparable part of it. Their rightful place is in the centers of conflict, that is to say, in the streets and on the walls of the factories. To use them for decorative purposes, to display them in bourgeois places of culture or to consider them as objects of aesthetic interest is to impair both their function and their effect. This is why the ATELIER POPULAIRE has always refused to put them on sale. Even to keep them as historical evidence of a certain stage in the struggle is a betrayal, for the struggle itself is of such primary importance that the position of an "outside" observer is a fiction which inevitably plays into the hands of the ruling class. That is why these works should not be taken as the final outcome of an experience, but as an inducement for finding, through contact with the masses, new levels of action, both on the cultural and the political plane."

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