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Photography Cinema: Classicism and Postmodernity

Code: 100564 ECTS Credits: 6
Degree Type Year Semester
2500239 Art History OT 3 1
2500239 Art History OT 4 1
2504235 Science, Technology and Humanities OT 4 1


Nuria Llorens Moreno

Teaching groups languages

You can check it through this link. To consult the language you will need to enter the CODE of the subject. Please note that this information is provisional until 30 November 2023.


Good reading habits. English knowledge recomended..

Objectives and Contextualisation

The syllabus for this course consists of two parts. In the first part, we will take a survey of the history of photography, from its origins to the present day, based on a careful selection of themes. The aim of this part of the programme is to familiarise students with the broad panorama of the history of photography, and with the conceptual tools necessary to critically analyse the photographic phenomenon and to understand it from multiple perspectives.
The second, shorter part of the programme will be devoted to avant-garde cinema and its legacy in contemporary art and documentary cinema. The classes in this part of the programme will complement those in the first part, with the aim of deepening our knowledge of the artistic culture of the avant-garde and bringing us closer to one of the most relevant and active fields of contemporary filmmaking.


    Art History
  • Critically analysing from the acquired knowledge a work of art in its many facets: formal values, iconographic significance, artistic techniques and procedures, elaboration process and reception mechanisms.
  • Interpreting a work of art in the context in which it was developed and relating it with other forms of cultural expression.
  • Recognising the evolution of the artistic imagery from the antiquity to the contemporary visual culture.
  • Recognising the fundamental problems, vocabulary and concepts of the Theory of Art and Cinema.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.
    Science, Technology and Humanities
  • Analyse the relationships between nature and culture using concepts from anthropology, philosophy and history.
  • Make critical use of digital tools and interpret specific documentary sources.
  • Recognise the political, social and cultural dimension of science and technology development in the different historical periods.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of collecting and interpreting relevant data (usually within their area of study) in order to make statements that reflect social, scientific or ethical relevant issues.
  • Students must develop the necessary learning skills to undertake further training with a high degree of autonomy.

Learning Outcomes

  1. Accurately defining and explaining an artistic object with the specific language of art criticism.
  2. Analyse documents from different historical periods.
  3. Analyse representations of sexualities in cultural productions.
  4. Analysing ideas about an artistic phenomenon in a given cultural context.
  5. Analysing the creators of an artistic phenomenon in a specific cultural context.
  6. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  7. Assess and correct your own work.
  8. Assess the organisation of a specific archive.
  9. Autonomously searching, selecting and processing information both from structured sources (databases, bibliographies, specialized magazines) and from across the network.
  10. Connecting an artistic imagery with other cultural phenomena within its period.
  11. Critically analysing basic concepts of artistic and cinematographic theory and its evolution through history.
  12. Discern the transformations of gender relations in the history of culture.
  13. Distinguishing the elaboration techniques and processes of an artistic object.
  14. Engaging in debates about historical facts respecting the other participants' opinions.
  15. Evaluate other related disciplines that help in the correct treatment of documents: sigillography, chronology, etc.
  16. Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
  17. Explaining the reception mechanisms of a work of art.
  18. Identify the different types of records.
  19. Identifying the artistic imagery, placing it into its cultural context.
  20. Recognise the representation of masculinity in art history.
  21. Reconstructing the artistic outlook of a particular cultural context.
  22. Use ICT to organise documents.




1. Thinking, reading and studying photography. Introduction to the study of photography. Museums, Archives and Libraries: collections and holdings.


2. What is photography? The invention of photography. Exploring the medium and technique: the pioneers. The debates on the nature and uses of photography: the progressive recognition of the new art.

The photographic vision: itineraries

3. Travel and photography. Photographic journeys and surveys: the picturesque legacy. Photographic journeys to the Orient. Photography in the West of the United States.

4. The modern city photographed: New York, Paris, Barcelona. Far from the city: the Mexican case. Photography and literature: Edward Weston, Tina Modotti, Paul Strand, Juan Rulfo.

5. Photography and avant-garde art: experimentating and inventing a new language.

6. Photography as a social document.

Postmodernity. The "capitalism of images" and the phenomenon of post-photography.

7. Questioning photography today.


8. Documentary cinema: concept, characteristics and possibilities. Film essay and poetic film: an introduction.



Lectures and dialogic classes.

Documents search and writing exercises

Individual work: writing a critical essay about an artist, a reading, a photography.

Text analysis of the readings assigned to the topics covered in the course.

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Title Hours ECTS Learning Outcomes
Type: Directed      
Seminar lectures 50 2 11, 5, 6, 4, 19, 1, 13, 14, 21, 10
Type: Supervised      
Tutoring sessions 20 0.8 11, 5, 6, 4, 14
Type: Autonomous      
Bibliographic and documentary search 40 1.6 11, 5, 6, 4, 1, 13, 14, 21, 10
Writing papers, reviews, text commentaries, etc. 40 1.6 11, 5, 6, 4, 19, 1, 13, 14, 10



The assessment will draw in a written test, a works commentary and a readings commentary.

In case of plagirarism:

In the event of a student committing any irregularity that may lead to a significant variation
in the grade awarded to an assessment activity, the student will be given a zero for
this activity, regardless of any disciplinary process that may take place. In the event of
several irregularities in assessment activities of the same subject, the student will be given
a zero as the final grade for this subject.


The single assessment of this course will be based on the specific regulations of the UAB.
In order to obtain a favourable evaluation, it is necessary to pass three evidences:
1. Written test of contents (50 %).
2. Individual work: a commentary on works of art (20 %).
3. Individual work: a commentary on readings (20 % ).


Second chance examination:

Unless otherwise stated, the single assessment tests will coincide with the dates ewawerved for the continuous assessment, at the end of the term.

The student could submit a second chance examination of the papers with a rating inferior to 5.

Exams and papers review procedure:

Durig the evaluative process, the lecturer will inform students (Moodle) of the examns and papers review procedure.

The Student will be rated as ‘Not assessable’ if he/she has not delivered more than 30 % of the evaluation work.


Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Readings commentary 35 % 0 0 11, 2, 5, 6, 4, 3, 19, 9, 1, 12, 13, 7, 16, 17, 18, 14, 21, 20, 10, 22, 15, 8
Works commentary 25 % 0 0 11, 2, 5, 6, 4, 3, 19, 9, 1, 12, 13, 7, 16, 17, 18, 14, 21, 20, 10, 22, 15, 8
Written test 40 % 0 0 11, 2, 5, 6, 4, 3, 19, 9, 1, 12, 13, 7, 16, 17, 18, 14, 21, 20, 10, 22, 15, 8


Bibliografia general A.
Arxiu fotogràfic de Barcelona: https://ajuntament.barcelona.cat/arxiumunicipal/arxiufotografic/ca/home

Fotografia a Catalunya: https://www.fotografiacatalunya.cat/ca
Biblioteca Digital Hispánica: http://www.bne.es/es/Catalogos/BibliotecaDigitalHispanica/Inicio/index.html
MNAC: https://www.museunacional.cat/es/advanced-piece-search?title_1=&title=&field_piece_inventory_number_value=&keys=&field_piece_type_value_i18n%5B%5D=fotografia
MEP: https://www.mep-fr.org/
Gallica: https://gallica.bnf.fr/accueil/fr/content/accueil-fr?mode=desktop
Victoria & Albert Museum https://www.vam.ac.uk/collections/photographsictoria
The J. Paul Getty Museum: https://www.getty.edu/art/photographs/
Eastman Museum https://www.eastman.org/collections-online

Bolton, Richard. The Contest of Meaning : Critical Histories of Photography. Cambridge, Massachusetts [etc: The MIT Press, 1989.
Clarke, Graham. The Photograph / Graham Clarke. Oxford: [etc: Oxford University Press, 1997.
Clarke, Graham. The Portrait in Photography / Edited by Graham Clarke. London: Reaktion Books, 1992.
Henisch, Heinz K., The Photographic experience, 1839-1914 : images and attitudes, University Park, Pennsylvania State University Press, 1994.
López, Publio, Historia de la fotografía en España : fotografía y sociedad, desde sus orígenes hasta el siglo XX, Lunwerg: Barcelona, 2005.
Marien, Mary Warner, Photography and its critics : a cultural history, 1839-1900, Cambridge, Cambridge Univ. Press, 1997.
Nehall, Beaumont, Historia de la fotografía, Barcelona, Gustavo Gili, 2002.
Rosenbum, Naomi, A History of women photographers, New York : Abbeville, 2000.
Sougez Marie-Loup (coord.), ; M.a de los Santos García Felguera, Helena Pérez Gallardo, Carmelo Vega., Historia general de la fotografía ,  Madrid: Cátedra, 2007.

Tema 1.
Barthes, Roland, Cámara lúcida. Nota sobre la fotografia, Parcelona: Paidós, 2009.
Barthes, Roland, La Torre Eiffel : textos sobre la imagen / Roland Barthes Barcelona, Paidós, 2001.
Batchen, Geoffrey. Each Wild Idea : Writing, Photography, History. Cambridge (Mass.): MIT Press, 2001.
Benjamin, Walter, Breve historia de la fotografía, Madrid, Casimiro, 2011.
Berger, John, Para entender la fotografía¸Barcelona: GG, 2015.
Bonnefoy, Ives, Poesía y fotografia, Shangrila, Madrid, 2020.
Dubois, Philippe, El acto fotográfico y otros ensayos, la marca editora, Buenos Aires, 2015.
Elkins, James. Photography Theory / Edited by James Elkins. New York [etc: Routledge, 2007.
Fontcuberta, Joan (ed.), estètica fotogràfica, GG, Barcelona, 2012
Indij, Guido, i Silva, Ana (comps.), Fotografía y Sociedad, Buenos Aires: la marca editora, 2017.
Indij, Guido, i Silva, Ana (comps.), Fotografía y Estética, Buenos Aires: la marca editora, 2017.
Kracauer, Siegfried, and Laura S. Carugati. La Fotografía y otros ensayos : el ornamento de la masa 1. Barcelona: Gedisa, 2008.
Krauss, Rosalind, Lo fotográfico : por una teoría de los desplazamientos, Barcelona: GG, 2002.
Sharf, Aaron, Arte y fotografía, Madrid : Alianza, 1994.
Shre, Stephen, The Nature of Photographs, London: Phaidon, 2007.
Sontag, Susan, Sobre la fotografia, Arcàdia, Barcelona, 2029.
Tagg, John. El Peso de la representación : ensayos sobre fotografías e historias. Barcelona: Gustavo Gili, 2005.

Tema 2
Batchen, Gofrey, Arder en deseos: la concepción de la fotografia, Barcelona: GG, 2004.
Daguerre, Louis J. M., Historia y descripción de los procederes del daguerreotipo y diorama, Mallorca, Miquel Font, 1991.
Daniel, Malcolm, The Photographs of Édouard Baldus, New York, The MetropolitanMuseum of Art,1994.
Daniel, Malcolm, Eugenia Parry, and Theodore Reff. Edgar Degas, Photographer. New York: The Metropolitan Museum of Art, 1999.
La Photographie pictorialiste en Europe : 1888-1918. Rennes: Le Point du Jour, 2005.
Lukitsh, Joanne, and Julia Margaret Cameron. Julia Margaret Cameron. London [etc: Phaidon, 2006.
Nadar, Memorias de un fotógrafo, Madrid: Casimiro, 2029.
Peracaula, Lourdes. La Fotografia pictorialista a Espanya : 1900-1936 , Barcelona: Fundació “la Caixa,” 1998.
Schaaf, Larry J. Out of the Shadows : Herschel, Talbot, & the Invention of Photography. New Haven [etc: Yale University Press, 1992.
Schaaf, Larry J. The Photographic Art of William Henry Fox Talbot : Princeton University Press, 2000.
Talbot, William Henry Fox., and Russell D. Roberts. Huellas de luz : el arte y los experimentos de William Henry Fox Talbot. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2001.
Torrella, R.; García Felguera, M.; Ferrer, J., El daguerotip. L’inici de la fotografia, Barcelona: Ajuntament de Barcelona, 2014.
V.V.A.A., Victorian giants: The birth of art photography, National Portrait Gallery, London, 2018.

Tema 3
Bayard, Hippolyte. Bayard. Paris: Prisma, 1943.
Días, Maite, J. Laurent. 1816-1886, Ministerio de Cultura, Madrid, 2016.
Fontanella, Lee, and Gerardo F. Kurtz. Charles Clifford, fotógrafo de la España de Isabel II. Madrid: El Viso, 1996
Fabian, Rainer., and Hans-Christian Adam. Masters of Early Travel Photography. London: Thames and Hudson, 1983.
García Felguera, María de los Santos. Viajeras, fotógrafas y turistas en el siglo XIX. Palma de Mallorca: Institut d’Estudis Baleàrics. Conselleria d’Educació i Cultura de les Illes Balears, 2009.
García Felguera, María de los Santos., Imagen romántica de España , Madrid: Ministerio de cultura. Dirección general de bellas artes, archivos y bibliotecas, 1981.
Khemir, Mounira. L’Orientalisme : l’Orient des photographes au XIXe siècle. Evreux: Centre national de la photographie, 1994
Mondenard, Anne de. La Mission héliographique : cinq photographes parcourent la France en 1851. Paris: Monum, éditions du patrimoine, 2002.
Naef, Weston J., James N. Wood, and Therese Thau Heyman. Era of Exploration : the Rise of Landscape Photography in the American West, 1860-1885. Buffalo: Albright-Knox Art Gallery, 1975.
Peltre, Christine. L’atelier du voyage : les peintres en Orient au XIXe siècle. Paris: Le Promeneur, 1995.

Tema 4.
Abbott, Berenice, and Estrella de Diego Otero. Selección de escritos. Madrid: Ivorypress, 2020.
Alfred Stieglitz, Washington: National Gallery of Art, 1983.
Álvarez Bravo, Manuel, Laura González Flores, and Gerardo . Mosquera. Manuel Álvarez Bravo. Madrid: Fundación MAPFRE, Instituto de Cultura, 2012.
Atget, Eugène, Les silencis d’Atget. Une antologie de textes, Textuel, París, 2016.
Cartier-Bresson, Henri, Ver es un todo : entrevistas y conversaciones (1951-1998), Barcelona : GG, 2014.
Daniel, Malcolm, Stieglitz, Steichen, Strand, Yale University Press, Cambridge (Mass.), London, 2010
Eugène Atget : el París de 1900, València : Institut Valencià d'Art Modern, 1991.
Frizot, Michel, Wanaverbeck, Annie-Laure, Andre Kertész, Yale University Press, New Haven-London, 2010.
Henri Cartier-Bresson, DVD, Madrid : Avalon, 2007.
Krippner, James. Paul Strand en México. Madrid: La Fábrica, 2010.
Millstein, Barbara Head, and Sarah M Lowe. Consuelo Kanaga : an American Photographer. New York: Brooklyn Museum in association with University of Washington Press, 1992.
Newhall, Nancy Wynne, and Beaumont Newhall. From Adams toStieglitz : Pioneers of Modern Photography , New York: Aperture, 1989.
Nieto Sotelo, Jesús, and Elisa Lozano Alvarez. Tina Modotti : una nueva mirada. México: CNCA/ Centro de la Imagen, Universidad Autónoma del Estado de Morelos, 2000.
Rauschenberg, Christopher, Paris changing revisiting Eugène Atget's Paris, New York : Princeton Architectural Press, 2007.
Richard. Lorenz, and Manfred. Heiting. Imogen Cunningham, 1883-1976. Köln: Taschen, 2001.
Rulfo, Juan, and Andrew Dempsey. El Fotógrafo Juan Rulfo. Primera edición. Barcelona: RM Verlag, S.L., 2017.
Tomkins, Calvin. Paul Strand : Sixty Years of Photographs. New York: Aperture, 1976.
Torrella, R. Et al. , Frederic Ballell fotoperiodista, Barcelona: Institut de Cultura de Barcelona, 2000.
Weissberg, Stephanie. Lola Álvarez Bravo: Picturing México. St. Louis, MO: Pullitzer Arts Foundation, 2018.
Weston, Edward, and Nancy Wynne Newhall. Edward Weston : the Flame of Recognition : His Photographs Accompanied by Excerpts from the Daybooks & Letters /. London: Gordon Fraser, 1971.

Tema 5
Ades, Dawn, Photomontage, London : Thames & Hudson, 2010.
Anders, Günther, 1902-1992.; Grosz, George, 1893-1959.; Heartfield, John, 1891-1968, L'Art est en danger, Paris : Éditions Allia, 2012.
Drudi, Maria i Fiori, Teresa, Archivi del Futurisme, De Luca, Roma, 1986.
Krauss, Rosalind, L’amour fou: photography and surrealisme, Abbeville Press, 1985.
Lista, Giovanni, Cinema e fotografia futurista, Milano: Skira, 2001.
Lodder, Christina, El Constructivismo ruso, Madrid: Alianza, 1988.
Man Ray, Tutti gli scritti, Milano: feltrinelli, 1081.
Moholy-Nagy, Laszló, Pintura, fotografía, cine y otros escritos sobre fotografia, GG, Barcelona, 2005.
Sichel, Kim, Germaine Krull Photographer of Modernity, Camrbridge, MA, London: The MIT Press, 2000.

Tema 6
BONET, Juan Manuel; RAMONEDA, Josep; MENDELSON, Jordana; ENNIS, Helen. Margaret Michaelis: fotografia, vanguardia i política a la Barcelona de la República (en català, anglès). Barcelona: CCCB, 1999.
Frank, Robert, introduction by Jack Kerouac, The Americans, New York : Scalo, 1995.
Freund, Gisèle, La fotografia como documento social, Barcelona: GG, 2017.
Indij, Guido, i Silva, Anna (Coords.), Fotografía y Sociedad, La marca editora, Buenos Aires, 2017.
Lugon, Olivier, El Estilo documental : de August Sander a Walker Evans : 1920-1945, Salamanca : Ediciones Universidad de Salamanca, 2010.
Rosenheim, Jeff, and Karan Rinaldo. Diane Arbus : in the Beginning 1956-1962. London: Yale University Press, 2016.
Stange, Maren. Symbols of Ideal Life : Social Documentary Photography in America : 1890-1950 / Maren Stange. Cambridge: Cambridge University Press, 1992.
Sekula, Allan, Photography against the grain : essays and photo works 1973-1983, London: Mack, 2016.
Sontag, Susan, Sobre la fotografia, Arcàdia, Barcelona, 2029.
Taro, Gerda et al. Gerda Taro. Barcelona: MNAC, 2009.

Tema 7
Burgin, Victor, Ensayos, Barcelona: GG, 2004.
Fontcuberta, Joan, La cámara de Pandora: La fotografí@ después de la fotografia, Ed. Gustavo Gili, Barcelona, 2010.
Fontcuberta, Joan, La fúria de las imágenes, Galaxia Gutemberg, Barcelona, 2020.
Mitchell, W.J.T., ¿Qué quieren las imágenes? : una crítica de la cultura visual, Vitoria-Gasteiz : Sans Solei, 2027.
Ribalta, Jorge. Efecto real : debates posmodernos sobre fotografía. Barcelona: Gustavo Gili, 2004.

Bibliografia general B
Filmoteca de Catalunya: https://www.filmoteca.cat/web/ca
Barbera, Alberto, and Roberto Turigliatto. Leggere il cinema ,Milano: Arnoldo Mondadori, 1978.
Bresson, Robert, Notas sobre el cinematógrafo, Árdora, Madrid, 1999.
Burch, Noël, and Francisco Llinás. El Tragaluz del infinito : contribución a la geneaología del lenguaje cinematográfico. Madrid: Cátedra, 1987.
Duras, Marguerite. Les yeux verts / Marguerite Duras. Paris: Cahiers du Cinema, 1987.
Kracauer, Siegfried. Teoría del cine : la redención de la realidad física / Siegfried Kracauer. Barcelona [etc: Paidós, 1989.
Pezzella, Mario. Estética del cine / Mario Pezzella. Madrid: A. Machado Libros, 2004

Tema 8
Dulac, Germaine, Ecrits sur le cinema 1919-1937, París, 1994
Eisenstein, Sergei M., Teoría y técnica cinematogràfica, Rialp, Madrid, 1989.
Kracauer, Siegfried. De Caligari a Hitler : historia psicológica del cine alemán / Siegfried Kracauer ; [traducción de Héctor Grossi]. Barcelona [etc: Paidós, 1985.
Sánchez-Biosca, Vicente. Cine y vanguardias artísticas : conflictos, encuentros, fronteras. Barcelona [etc: Paidós, 2003.
Seguer, Daniel et al.(eds.), En torno a la Nouvelle Vague. Rupturas y horizontes de la modernidad. Valencia: Instituto Valenciano de Cinematografía Ricardo Muñoz Suay, 2002
Vertov, Dziga. Cine-ojo : [textos y manifiestos]. Madrid: Fundamentos, 1974

Tema 9
Carrera, Pilar; Talens, Jenaro, El relato documental, Cátedra: Madrid, 2018.
Català, Josep M., Estética del ensayo. La forma ensayo, de Montaigne a Godard, PUV, València, 2014.
Cerdán Los Arcos, José Francisco. et al. Documental y vanguardia. Madrid: Cátedra, 2005.
Hamery, Roxane, Antony Fiant, and Éric Thouvenel. Agnès Varda : le cinéma et au-delà. Presses universitaires de Rennes, 2009.
Kahana, Jonathan, The Documentry film reader: history, theory, criticism, Oxford University Press, Oxford, 2016.
Michaud, P. A., Sur le film,Macula, París, 2016.
Provitina, Gustavo. El Cine-ensayo : la mirada que piensa. Buenos Aires: La Marca Editora, 2014.
Ragghianti, Carlo Ludovico. Cinema arte figurativa. 3a ed. Torino: Giulio Einaudi ed., 1964.
Torreiro, M. i Cerdán, i J., Documental y vanguardia, Madrid, 2005.
Warren, Shiylh, Subject to reality. Women and Documentary Film, University of Illinois Press, Illinois, 2019.



If a specific software is necessary we will inform the student