Course Syllabus
| Semester & Location: |
Fall 2024 - DIS Copenhagen |
| Type & Credits: |
Elective Course - 3 credits |
| Major Disciplines: |
Political Science, International Relations, Communication |
| Prerequisite(s): |
None |
| Faculty Members: |
Alexander Hviid (current students please use the Canvas Inbox) |
| Program Contact: | |
| Time & Place: |
Mondays & Thursdays: 10.05-11.25 Classroom: F24-402 |
Course Description
War has returned to the European continent, and yet unless we find ourselves on the front lines in Ukraine, our understanding of war is always limited if not determined by the media through which war is presented to us.
In the 1990’s, one image of an emaciated Bosnian prisoner of war behind barb wire was enough to trigger European memories of our Holocaust past and to demand UN peacekeepers and humanitarian interventions in the Balkan Wars.
Today, we live in an era of media mass consumption – of image gluttony – that may lead to a different result; ‘compassion fatigue’ and apathy?
Thus, whether through photography, cinematography or social media, the visual recording and presentation of war and conflict raises issues of both political, ethical and aesthetic character.
By drawing our attention to an image, a photographer may end up perpetuating the very thing they seek to abate. As Sontag put it, to photograph is to frame and to frame is to exclude – what pictures, whose cruelties, whose deaths are not being shown?
Therefore, no matter the intention; to document events, to collect evidence for trials, to humanize the war experience, to shape public opinion, to preserve collective memory, to strengthen or undermine narratives and propaganda, our understanding of war is inextricably linked to the way in which it is presented to us.
This course traces the evolution of the mediation of war and conflict. Embedded within a solid foundation of political, historical and cultural analysis, we will explore the interaction between media, society and military trends with a specific emphasis on the European experience.
Through a series of historical and contemporary case studies, students are provided with analytical tools enabling them to deconstruct the visuals of war and critically assess the interaction between imagery, conflicts and societies – with a view to creating their own photo project.
Learning Objectives
This course will enable you to:
1. Understand the historical development and significance of war photography and more broadly the visual presentation of war.
2. Explore whether and to what extent it is the nature of war vs. merely the representation of war that has changed in modern time.
3. Analyze and evaluate the ethical considerations involved in photographing conflicts.
4. Determine the role of war photography in shaping public opinion and policy.
5. Discuss the impact of war photography on societies and cultures.
6. Critically analyze and interpret war photographs and films within their historical and cultural contexts.
7. Understand the role of media in combating or perpetuating representation bias, power dynamics and minority communities
Faculty
Alexander Hviid (MA in Social Science and English from the University of Copenhagen and MSc. in International Security & Law from University of Southern Denmark). Formerly employed at the Royal Danish Defence College and Center for War Studies at University of Southern Denmark.
Through degrees and work experience specialized in analyzing modern conflict via a uniquely cross-disciplinary approach applying methodologies from both the creative arts and humanities, international relations, military strategy and humanitarian law.
Extensive experience photographing the post-conflict Balkans and formerly featured in National Geographic Nordic.
Readings
Kennedy & Patrick (2014): The Violence of the Image - Photography and International Conflict. ch. 5
Linfield, Susie (2010): The Cruel Radiance - Photography and Political Violence.
Sontag, Susan (2003): Regarding the Pain of Others. ch. 1
Struk, Janine (2004): Photographing the Holocaust - Interpretations of the Evidence.
Grynbaum & Robertson, NY Times (2023): Harsh Visuals of War Leave Newsrooms Facing Tough Choices. https://www.nytimes.com/2023/11/14/business/media/israel-hamas-media-photography.htmlLinks to an external site.
Lauren Walsh (2019): Conversations on Conflict Photography.
Daniel Foliard (2022): The Violence of Colonial Photography
Paul Lowe (2022): Photography and Bearing Witness in the Balkan Conflicts 1988-2015.
Meryl Alper: (2014): War on Instagram: Framing Conflict Journalism with Mobile Photography Apps. New Media & Society.
Frank Möller: Peace Photography. Palgrave.
Moorehead, Nachtwey, ICRC (2009): Humanity in War: Frontline Photography Since 1860
Harris & Williams (2018): Reporting War.
Judith Butler: Frames of War (2016)
Ritchin (2009): After Photography
DIS Accommodations Statement
Your learning experience in this class is important to me. If you have approved academic accommodations with DIS, please make sure I receive your DIS accommodations letter within two weeks from the start of classes. If you can think of other ways I can support your learning, please don't hesitate to talk to me. If you have any further questions about your academic accommodations, contact Academic Support acadsupp@dis.dk.
Grading
| Assignment |
Percent |
| Written Assignment 1 | 15 |
| Written Assignment 2 |
15 |
|
Group Presentation
|
15 |
|
Active Participation |
25 |
|
Photo project including written reflection |
30 |
Policies
Late arrival to class:
All students are expected to come to class on time. Repeated late arrivals will result in a meeting with the instructor.
Policy on late hand-in of synopses:
Papers handed in late will not be accepted.
Use of laptops or phones in class:
The use of laptops is allowed only for taking notes. The use of mobile phones in class is not allowed
Academic Regulations
Please make sure to read the Academic Regulations on the DIS website. There you will find regulations on:
DIS - Study Abroad in Scandinavia - www.DISabroad.org
Course Summary:
| Date | Details | Due |
|---|---|---|